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Scanned  from  the  collection  of 
Karl  Thiede 


Coordinated  by  the 

Media  History  Digital  Library 

www.mediahistoryproject.org 


Funded  by  an  anonymous  donation 
in  memory  of  Carolyn  Hauer 


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Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Media  History  Digital  Library 


http://archive.org/details/photoplayvolume44748chic 


JANUARY 
25   CENTS 

30  Cents  In  Canada 


You  Love,  Honor 
and  Obey  These  Men? 


See  Page  3C 


BlLLIE  SEWARD,  vivacious  ingenue,  intends  to  stay 
as  charming  and  beautiful  as  she  is  in  the  Columbia  pic- 
ture, "Among  the  Missing",  in  which  she  is  now  play- 
ing opposite  Richard  Cromwell.  You,  too,  can  keep 
your  figure  slim  and  youthful  —  the  Hollywood  way ! 
Eat  Ry-Krisp  with  every  meal.  The  loveliest  movie  stars 
have  learned  that  Ry-Krisp  is  a  real  beauty  aid — because 
it's  filling  but  not  fattening.  At  meals  and  between  meals 
you'll  find  these  crisp,  delicious  wafers  are  the  perfect 
thing  to  serve  —  because  they  taste  so  good. 


tine 


Mme.  SYLVIA 

of  Hollywood 


World  famous  authority  on  the  feminine  figure  —  and 
Hollywood  masseuse.  Intimate  stories  about  Holly- 
wood—  valuable  beauty  advice.  Hear  how_yo»  can  win 
duplicates  of  gowns  worn  by  famous  stars  —  FREE. 
Every  Wednesday  night  —  NBC  Blue  Network  — 
10:15  EST         9:15  CST         8:15  MT  7:15  PCT 


Photoplay  Magazine  for  January,  1935 


MftO 


Starving.  .  .yet  they  dw«/ 

the  coming  of  the  FOOD  SHIP 


FREQUENTLY  emaciated  and  ravenously  hungry,  the  people 
of  St.  Kilda's,  the  lonely  island  off  the  Scottish  coast,  dreaded 
the  arrival  of  the  supply  ship  from  the  mainland.  They  realized 
that  though  it  brought  food  to  the  wilderness  it  brought  also 
civilization's  curse— the  common  cold.  Illness  and  death  invariably 
followed  the  rattle  of  the  anchor  chain.  In  the  Arctic,  the  Eskimos 
had  the  same  experience. 

Reviewing  such  cold  epidemics,  scientific  men  came  eventually 
to  the  belief  that  colds  were  caused  by  germs,  not  by  exposure,  wet 
feet,  or  drafts  although  these  may  be  contributing  causes. 

Colds  are  caused  by  germs,  they  say— but  by  germs  unlike  any 
others  previously  known.  Germs,  if  you  please,  that  cannot  be 
seen.  Germs  so  small  they  cannot  be  measured  except  as  they 
exert  their  evil  effect  upon  the  human  body.  Bacteriologists  call 
them  the  filtrable  virus  because  they  readily  pass  through  the  most 
delicate  bacterial  filters.  Using  a  liquid  containing  this  mysterious 
virus,  they  have  been  able  to  produce  repeatedly  by  inoculation, 
one  man's  cold  in  other  men. 

Under  ordinary  conditions,  this  virus  enters  the  mouth,  nose,  or 
throat  to  cause  the  dangerous  infection  we  call  a  cold.  Accom- 
panying it  are  certain  visible  germs  familiar  to  all;  the  pneu- 
mococcus,  for  example,  and  the  streptococcus— both  dangerous. 
They  do  not  cause  a  cold— they  complicate  and  aggravate  it. 

To  Fight  Colds— Fight  Germs 

Obviously,  the  important  part  of  the  fight  against  invisible  virus 


and  visible  bacteria  should  take 
place  in  the  mouth  and  throat. 
The  cleaner  and  more  sanitary 
you  keep  it,  the  less  chance  germs 
have  of  developing. 

"The  daily  use  of  a  mouth- 
wash," says  one  eminent  au- 
thority, "will  prevent  much  of 
the  sickness  which  is  so  common 
in  the  mouth,  nose,  and  throat. 
Children  should  be  taught  the 
disinfection  of  the  mouth  and 
nose  from  their  earliest  years." 

For  oral  hygiene,  Listerine  is  ideal— so  considered  for  more  than 
fifty  years  both  by  the  medical  profession  and  the  laity.  It  possesses 
that  rare  combination  absent  in  so  many  mouth  washes-ade- 
quate germ  killing  power  plus  complete  safety.  And  of  all  mouth 
washes,  it  has  the  pleasantest  taste. 

Numerous  tests  under  medical  supervision  have  shown  that 
regular  twice-a-day  users  of  Listerine  caught  fewer  colds  and  less 
severe  colds  than  those  who  did  not  use  it. 


We  will  send  free  and  postpaid  a  scientific  treatise  on  the  germi- 
cidal action  of  Listerine;  also, a  Booklet  on  Listerine  uses.  Write 
Lambert  Pharmacol  Company,  Dept.  PU-1,  St.  Louis,  Missouri. 


For  Colds  and  Sore  Throat .  .  .  LISTERINE  ...The  Safe  Antiseptic 


Photoplay  Magazine  for  January,  1935 


!W#hWW' 


ONE  OF  THE  GREAT! 

You  have  heard  so  much  about  it.  The 
world's  eagerness  to  see  this  beloved 
Charles  Dickens  novel  on  the  screen  will  be 
amply  repaid.  The  two  years  of  waiting  are 
at  an  end.  Never  before  has  any  motion  pic- 
ture company  undertaken  the  gigantic  task 
of  bringing  an  adored  book  to  life  with  such 
thrilling  realism.  65  great  screen  personali- 
ties are  in  this  pageant  of  humanity,  adapted 
to  the  screen  by  the  famed  Hugh  Walpole. 
The  original  scenes,  the  vivid  characters, 
the  imperishable  story  .  .  .  they  live  again! 


METRO-  Goldwyn  -MAYER 


Directed    by    GEORGE    CUKOR 

Produced  by  DAVID  O.  SELZNICK 


The     World's     Leading     Motion     Picture     Publication 

KATHRYN   DOUGHERTY,  Editor 


William  T.Walsh,  Managing  Editor 


Ivan  St.  Johns,  Western  Editor 


Vol.  XLVII  No.  2 


Winners  of  Photoplay 
Magazine  Gold  Medal  for 
the    best    picture   of   the    year 


1920 

"HUMORESQUE" 

1921 

"TOL'ABLE  DAVID" 
"ROBIN  HOOD" 


"THE  COVERED  WAGON* 

"ABRAHAM*  LINCOLN" 

"THE  BIG  PARADE' 

1926 

"BEAU  GESTE" 

1927 

"7th  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 
WESTERN  FRONT" 

1931 

"CIMARRON" 

1932 

"SMILIN'  THROUGH" 
"LITTLE  WOMEN" 


January,  1935 


High-Lights  of  This  Issue 


Close-Ups  and  Long-Shots 

Will  Your  Favorite  Star  Survive  Color? 

Could  You  Love,  Honor  and  Obey  These  Men? 

Making  a  Man's  Picture         .... 

Fun  Like  Mad  ..... 

Hollywood  Holiday  Follies      .... 

Scene  from  "A  Wicked  Woman'' 

Cal  York's  Monthly  Broadcast  from  Hollywood 

Seymour — Photoplay's  Style  Authority 

Copperfield  in  Quest  of  His  Youth 

Here's  More  Perfection  for  You 

All  the  World's  His  Stooge     .... 

Photoplay's  Hollywood  Beauty  Shop 

Movie  Fill-in  Contest  Winners 


Kathryn  Dougherty 
Mildrfd  Mastin 
Arline  Merton 

KlRTLEY    BASKETTE 
MlTZl    CUMMINGS 

Sara  Hamilton 


Sara  Hamilton 

Sylvia 

Mildred  Mastin 

Carolyn  Van  Wyck 


Photoplay's  Famous  Reviews 

Brief  Reviews  of  Current  Pictures        .... 
The  Shadow  Stage         ....... 

Personalities 

Me  and  My  Pal       ....... 

A  Quartet  of  Big  Pay  Babes  ...... 

Nelson  Eddy  ..... 

Margaret  Sullavan  Wants  None  of  It 

At  Last  the  Films  Round  Up  Joe 

Tha-a-ank  You-hoo,  Maxine  Doyle 

Romance  with  an  Angel 

Mr.  Broadway  Gambles  Against  Hollywood 

Kitty  Crashes  Fame 

Norma  Shearer  Relaxes 

Here's  One  Fat  Man  Somebody  Loves 

She's  the  Belle  of  the  Film  Colony 

It's  Never  Been   Done  Before 

The  "Rediscovery"  of  Bill  Frawley 

Salute  May  Robson! 

Paul   Muni   and  Bette  Davis 

Tom  Meighan  Is  Restless 

Pert's  Reducing  Vacation 

Pat  Paterson  .... 

On  the  Cover — Shirley  Temple- 


KlRTI FY    BASKETTE 


.  Jerry  Lane 
Anne  Castle 
Julius  Irwin 


Robert  Burkhardt 

.  Scoop  Conlon 

Ruth  Rankin 

Walter  D.  Shackleton 


Painted  by  Earl  Christy 


Information  and  Service 

Brickbats  and  Bouquets        .  .  12       Screen  Memories  from  Photoplay 

Hollywood  Menus 94       The  Fan  Club  Corner 

Ask  the  Answer  Man 100       Casts  of  Current  Photoplays      . 

Addresses  of  the  Stars        ....       107        Hollywood   Cinema   Fashions 


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Published  monthly  by   MACFADDEN   PUBLICATION'S,    INC. 
Bernarr  Macfadden,  President  Irene  T.   Kennedy,    Treasurer  Wesley   F.    Pape,   Secretary 

Publishing  Office,  333  N.  Michigan  Ave.,  Chicago,  111.      Business  and  Editorial  Offices,  1926  Broadway,  New  York  City 

London  Agents,  Macfadden  Magazines,  Ltd.,  30  Bouverie  Street,  London,  E.  C.  4,  England 

Carroll   Rheinstrom,   Advertising  Manager,   Graybar   Bldg.,   420   Lexington    Ave.,   New   York,    N.    Y.  Charles    II.    Shaltuck,    Manager   Chicago    Office 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies.  Mexico  and  Cuba;  $3.50  Canada;  $3.50  for  foreign  countries.    Remittances 

should  be  made  by  check,  or  postal  or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912,  at  the  Postoffice  at  Chicago,  111.,  under  the  Act  of  March  3.  1879 

Copyright.  1934,  by  Macfadden  Publications,  Inc.,  New  York 


Me  and  My  Pal 


That  cute  little  trick,  Shirley  Temple,  tells  her  Mexican  pooch 
Poncho  to  "sparkle."  But  Poncho  looks  as  though  she's  about 
to  do  a  running  leap  away  from  the  staring  glass  eye  of  the 
camera.  It  may  be  true  that  English  bulldogs  are  gentle 
creatures,  but  would  you  want  to  be  the  first  to  try  and  get 
by  George  Brent's  prize  winning  pug,  Whiskey?  And  he's 
George's  constant  companion.  Jean  Muir  is  asking  her  fav- 
orite canine  chum  to  come  take  a  walk.  He  is  tagged  Shandy- 
gaff, which  is  a  drink  consisting  of  beer  and  ginger  ale ! 


Photoplay  Magazine  for  January,  1935 


Q-r^  THE  PICTURE 

OF  THE 
MONTH 


For  the  Christmas  Stockings  of  a  Hundred 
Million  Film  Fans,  We  Give  You  Warner 
Bros.'  Magnificent  Picturization  of  the  Stage 
Triumph   That    Made  America  Young  Again 


Never  has  a  story  brought  back  so  gloriously  the  good  old  days 
when  flaming  youth  went  to  town  on  a  bicycle-built-for-two  — or 
more.  That's  Papa  in  the  rumble-seat...but  where's  his  shot-gun? 


I 

"SWEET  ADELINE" 

Brought  to  the  Screen  After  63  "Weeks  —  Count  'em, 
63  —  on  Broadway,  With  Its  Immortal  Melodies  and 
Romance  That  Take  Us  Happily  Down  Memory  Lane, 
Dashingly   Guided   by   Director  MERVYN  LEROY 


We'd  like  to  take  up  the  merrie  olde  custom  of  slipper-drinking 
ourselves — just  to  toast  that  grand  trio  of  fun-makers  — Hugh 
Herbert,  Ned  Sparks,  Joe  Cawthorn  — and  all  the  delicious  dancing 
girls  who  are  too  numerous  to  name— but  too  sweet  nor  to  mention. 


Ever  whistle"  Why  Was  I  Born?  "."Here  Ami  ",and"  Don't  Ever 
Leave  Me"?  Well,  this  is  the  show  that  made  them  famous!  Now 
you'll  hear  these  and  other  great  Jerome  Kern  hits  sung  and  danced 
as  never  before  — all  because  Warner  Bros,  finally  lured  dance- 
director  Bobby  Connolly  of  "Ziegfeld  Follies"  fame  to  Hollywood. 


And  while  the  orchids  last,  let's  toss  a  load  of 
them  to  irresistible  Irene  Dunne,  and  Donald 
Woods  and  Louis  Calhern  for  their  brilliant  tell- 
ing of  a  great  love  story;  to  Mervyn  LeRoy  for  his 
superb  direction;  to  Phil  Regan  for  his  delightful 
tenor ;  and  to  Jerome  Kern  and  Oscar  Hammerstein 
II    for    authoring    December's    grandest    show ! 


A  Quartet  Of 
Pay  Babes 


This  manly  little  lad, 
David  Holt,  went  into 
his  eighth  year  a  few 
months  ago.  Now  he's 
into  high  gear  in  his 
screen  work,  for  which 
he  gets  a  neat  one  hun- 
dred and  fifty  dollars 
per  week.  Because  he 
knows  just  what  to  do 
when  he  goes  before 
the  camera 


Virginia  Weidler,  the 
petite  miss  above  in 
her  after-school  play 
dress,  has  also  passed 
her  seventh  birthday. 
Like  David  Holt,  she  is 
under  a  Paramount 
contract.  And  since 
her  outstanding  work 
in  "Mrs.  Wiggs,"  she 
is  viewed  as  a  big  bet 
at  the  box-office 


Cherubic  June  Pres- 
ton is  about  to  make 
her  screen  bow  under 
the  optimistic  eyes  of 
RKO-Radioin"Anne 
of  Green  Gables." 
June  was  snapped  up 
when  she  paid  a  visit 
to  the  studio.  A  keen- 
eyed  executive  saw 
her  and  forthwith 
called  for  a  screen 
test.  Result,  a  con- 
tract 


He's  known  as  Baby 
(The  Scene  Stealer) 
LeRoy.  Old  and 
young  stars  watch 
him  as  he  comes  on 
the  set.  It  is  said  he 
rates  seventy-five 
dollars  a  week.  And 
when  the  actual  time 
he  works  is  figured 
out,  it  puts  him  just 
about  at  the  top  of 
the  pay-roll,  he's 
that  big  a  drav/ 


Photoplay  Magazine  foe  January,  1935 


Bigger  than  THE  BIGGEST  SHOW  ON  EARTH 

is  the  amazing  story  of  Barnum!  His  audacious  humbuggery  . . .  his  hilarious  family  uprisings 
.  .  .  the  beautiful  women  who  came  in  — and  out —  of  his  life!  Not  even  Barnum  himself 
could  have  conceived   a   more  fascinating  drama  than   this  —  the  story  he  actually  lived ! 


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CENTURY 
PICTURE 


Written  by 
Gene  Fowler  and  Best  Meredyth 

''ir  long 

ED  ARTISTS 


By    the    producers    of    "THE    BOWERY"     and     "THE    HOUSE    OF    ROTHSCHILD 


Consult  this  pic- 
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guide  and  save 
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it  Indicates  photoplay  was  named  as  one  of  the  best  upon  its  month  of  review 


ADVENTURE  GIRL— RKO-Radio.—  Unreeling 
Joan  Lowell's  exciting  adventures  in  the  tropics.  An 
hour  packed  with  action.     (Nov.) 

AFFAIRS  OF  A  GENTLEMAN— Universal  — 
Cleverly  handled  murder  mystery  film,  with  Paul 
Lukas  as  the  author  who  makes  women  in  his  life 
characters  in  his  stories.  Good  cast  includes  Dorothy 
Burgess,  Sara  Haden.    (July) 

•  AFFAIRS  OF  CELLINI,  THE— 20th  Cen- 
tury-United Artists. — Frank  Morgan's  per- 
formance as  the  Duke  of  Florence  highlights  this 
sophisticated  yarn  about  the  loves  of  Benvenulo 
Cellini  (Fredric  March).  Constance  Bennett,  as  the 
Duchess,  and  Fay  VVray  are  grand.    (July) 

*AGE  OF  INNOCENCE,  THE— RKO-Radio. 
— For  those  who  appreciate  an  intelligent  in- 
terpretation of  a  great  theme — love's  sacrifice  for  con- 
vention's sake.  John  Boles  and  Irene  Dunne  are  a 
splendid  team.     (Nov.) 

ALONG  CAME  SALLY— Gainsborough.— So-so 
British  musical  comedy  with  Cicely  Courtneidge,  in 
a  dual  role,  and  Sam  Hardy.     (Sept.) 

ARE  WE  CIVILIZED— Raspin  Prod.— A  drama- 
tization of  various  conflicts  from  the  beginning  of 
civilization,  with  a  powerful  sermon  on  world  peace 
by  William  Farnum.      (Sept.) 

BABY  TAKE  A  BOW— Fox.— Shirley  Temple 
scores  again  as  the  daughter  of  an  ex-convict  (James 
Dunn)  accused  of  stealing  the  "pearls."  Alan  Dine- 
hart,  Claire  Trevor,  Ray  Walker.     (Sept.) 

BACHELOR  BAIT— RKO-Radio.— As  the  pro- 
moter of  a  matrimonial  agency  scheme,  Romance, 
Inc.,  Stuart  Erwin  is  perfect.  Pert  Kelton,  Skeets 
Gallagher  and  Rochelle  Hudson.     (Sept.) 

BADGE  OF  HONOR— Mayfair  —  Phony  and 
amateurish,  with  some  pretty  awful  dialogue.  Buster 
Crabbe  and  Ruth  Hall.     (Nov.) 

•  BARRETTS  OF  WIMPOLE  STREET,  THE 
— M-G-M. — Well  nigh  perfect  is  this  adapta- 
tion of  the  stage  play,  with  Norma  Shearer  as  the 
invalid  poetess  and  Fredric  March  as  her  lover. 
Charles  Laughton  and  excellent  support.     (Oct.) 

•  BELLE  OF  THE  NINETIES— Paramount- 
La  West  comes  through  again  with  a  knockout 
performance.  Roger  Pryor,  John  Mack  Brown, 
Katherine  De  Mille  do  well.  But  the  film  is  a  major 
triumph  of  Mae  over  matter.     (Nov.) 

BEYOND  BENGAL— Showmen's  Pictures.— Still 
another  jungle  story  with  thrilling  wild  animal  shots 
and  a  touching  native  romance.      (Aug.) 

BEYOND  THE  LAW— Columbia.— Railroad  de- 
tective Col.  Tim  McCoy's  investigation  of  a  killing  is 
packed  with  suspense  and  action.  Shirley  Grey. 
{Oct.) 

•  BIG  HEARTED  HERBERT— Warners.— 
Just  one  heartfelt  laugh.  Guy  Kibbee  is 
grouchy  father,  continually  reminding  Aline  Mac- 
Mahon  and  their  children  of  his  struggle  to  success. 
(Nov.) 

BLACK  CAT,  THE— Universal.— No  great  sus- 
pense in  Boris  Karloff's  latest  "chiller."  Anddangers 
that  threaten  Bela  Lugosi,  David  Manners,  Jacque- 
line Wells  while  in  his  weird  abode  seem  all  too  uncon- 
vincing.   (July) 

BLACK  MOON— Columbia.— If  you're  in  the 
mood  to  see  a  white  woman  (Dorothy  Burgess)  en- 
slaved by  Voodooism,  you'll  probably  enjoy  this. 
Jack  Holt  and  Fay  Wray  fine.     (Sept.) 

BLIND  DATE— Columbia.— Moderately  satis- 
factory film  fare  about  Ann  Sothern  going  out  with 
Neil  Hamilton  when  "steady"  Paul  Kelly  lets 
business  interfere  with  her  birthday  party.     (Oct.) 

10 


BLUE  LIGHT,  THE— Mayfair  Prod.— This 
artistic  Leni  Riefenstahl  production  will  be  enjoyed 
by  all  intelligent  audiences  though  dialogue  is  in 
German  and  Italian.  Magnificent  camera  effects 
in    the    Tyrol.      (Aug.) 

BLUE  STEEL— Monogram.— John  Wayne  again 
outgallops,  outshoots  and  outwits  the  outlaws, 
and  rescues  heroine  Eleanor  Hunt.      (Aug.) 

BRIDE  OF  THE  LAKE,  THE— Amer-Anglo 
Prod. — Pleasant  romance  against  a  background  of 
Irish  country  life.  Nobleman  John  Garrick  in  love 
with  peasant  girl  Gina  Malo.  Stanley  Holloway 
sings  Irish  ballads.     (Dec.) 

BRIDES  OF  SULU—  Exploration  Pictures  Corp. 
— Regard  this  as  a  scenic  travelogue  and  try  to  over- 
look the  poor  dialogue.  Interesting  customs  and 
characters,  with  Philippine  Archipelago  background. 
(Oct.) 


Fill-in 

Contest 

Winners! 

A  complete  list 

of  the  lucky  ones 

will  be  found 

on  page  116 — 

this  issue  of 

Photoplay 


•  BRITISH  AGENT— First  National.— Locale 
— Russia  during  the  war;  characters — Leslie 
Howard,  a  British  agent,  and  Kay  Francis  who  loves 
him,  but  is  also  passionately  devoted  to  her  country. 
Deft  direction;   capable  cast.     See  this!     (Oct.) 

•  BULLDOG  DRUMMOND  STRIKES  BACK 
— 20th  Century-United  Artists. — You  must 
see  Ronald  Colman  as  the  amateur  detective  who 
leaps  headlong  into  the  most  baffling  case  in  many  a 
day.  Loretta  Young,  Charles  Butterworth  fine. 
(Aug.) 

BY  YOUR  LEAVE— RKO-Radio.— You'll  chuckle 
plenty.  Frank  Morgan  is  the  picture,  as  the  husband 
in  his  forties  who  wants  to  be  naughty  and  lias  for- 
gotten how.     Includes  Genevieve  Tobin.     (Dec.) 

CALL  IT  LUCK— Fox.— An  old  plot,  but  Her- 
bert Mundin's  cockney  cabby  characterization  and 
Pat  Paterson's  fresh  charm  make  it  fair  entertain- 
ment.     (Aug.) 

•  CARAVAN — Fox. — For  a  riotous  carnival  of 
song,  dance,  costume  and  operetta  plot,  we 
recommend  this  film  laid  in  Hungary.  A-l  cast  in- 
cludes Jean  Parker,  Charles  Boyer,  Loretta  Young 
and  Phillips  Holmes.     (Nov.) 


CASE     OF     THE     HOWLING     DOG,     THE— 

Warners. — Smooth  and  clever,  different  and  divert- 
ing murder  varn.  Lawyer  Warren  William  solves 
mystery      Mary  Astor,  Gordon  Westcott.     (Nov.) 

•  CAT'S  PAW,  THE— Fox.— Doing  his  familiar 
characterization — the  naive  young  man  for 
whom  even  the  most  difficult  situations  come  out 
well — Harold  Lloyd  scores  again !  This  time  he's  a 
missionary's  son,  visiting  America.  Una  Merkel. 
(Oct.) 

CHAINED— M-G-M.— Splendidly  written,  acted, 
directed,  with  Joan  Crawford  married  to  Otto 
Kruger  and  in  love  with  Clark  Gable.     (Nov.) 

CHANGE   OF   HEART— Fox.— Admirers  of   the 

Janet  Gaynor-Charles  Farrell  team  will  like  this 
light  tale  about  their  experiences  with  two  college 
chums   in    the    big    town.      (Aug.) 

CHANNEL  CROSSING  —  Gaumont-British.— 
Melodrama  aboard  the  Dover-Calais  liner,  in  which 
Constance  Cummings,  Anthony  Bushell,  Nigel 
Bruce,  Matheson  Lang  all  take  important  parts. 
(Aug.) 

CHARLIE  CHAN  IN  LONDON— Fox.— Warner 

Oland  (Charlie  Chan)  ha<  three  days  to  prevent  ex- 
ecution of  Drue  Leyton's  brother,  accused  of  a 
murder  he  did  not  commit.  Alan  Mowbray  involved. 
(Dec.) 

CHARLIE  CHAN'S  COURAGE  —  Fox.  —  This 
yarn,  centering  around  Warner  Oland's  difficulties  in 
delivering  a  string  of  pearls,  is  the  least  amusing  of 
the  Charlie  Chan  series.     (Sept.) 

CHEATERS— Liberty.— Racketeer  Bill  Boyd  s 
reform  of  his  entire  gang,  when  he  falls  for  June 
Clyde,  makes  an  amusing  little  tale.  Dorothy 
Mackaill,  Alan  Mowbray  and  William  Collier,  Sr. 
do  nicely.    (July) 

CHU  CHIN  CHOW— Fox-Gaumont- British  — 
Colorful  British  version  of  Ali  Baba  and  the  Forty 
Thieves.  Fritz  Kortner,  German  star,  and  Anna 
May  Wong  excellent  in  leads.     (Dec.) 

CIRCUS  CLOWN,  THE— First  National.— Joe 
E.  Brown  splendid  in  the  sympathetic  role  of  circus 
roustabout  who  later  becomes  a  trapeze  artist. 
Patricia  Ellis  and  good  support.      (Aug.) 

CITY  PARK— Chesterfield.— As  one  of  three 
cronies  who  become  involved  in  the  destiny  of  a  girl 
(Sallie  Blane)  gone  broke  in  the  big  city,  Henry  B 
Walthall  is  superb.     (Nov.) 

•  CLEOPATRA  —  Paramount.  —  A  passionate 
love  story,  with  Claudette  Colbert  splendid  in 
the  title  role,  Warren  William  as  Caesar,  and  Henry 
Wilcoxon  as  Antony.  A  typical  DeMille  spectacle 
(Sept.) 

•  COCKEYED  CAVALIERS— RKO-Radio  — 
A  hilarious  hour  in  Merrie  Olde  England  with 
Wheeler  and  Woolsey,  Dorothy  Lee,  Thelma  Todd 
and  Noah   Beery.     Two  sure-fire  song  hits.      (-4 hi;.) 

CONSTANT  NYMPH,  THE— Fox-Gaumont- 
British. — Margaret  Kennedy's  novel  about  the  chil- 
dren of  the  mad  composer,  Sanger,  artistically 
adapted  to  the  screen.  Brian  Aherne  and  Virginia 
Hopper,  his  constant  nymph,  give  beautiful  por- 
trayals.   (July) 

*  COUNT  OF  MONTE  CRISTO, THE— United 
Artists. — A  thrilling  film  which  builds  steadily 
to  the  dramatic  courtroom  climax.  Robert  Donat  is 
Danles-  Elissa  Landi  fine,  too.     (Nov.) 

•  CRIME  WITHOUT  PASSION— Paramount. 
— A  truly  remarkable  picture,  that  has  for  its 
theme  the  workings  of  an  unscrupulous  mind.  Claude 
Rains,  Margo,  Whitney  Bourne  all  first-rate.  Sus- 
pense maintained  throughout.     (Nov.) 

[  PLEASE  TURN  TO  PAGE  14  ] 


Photoplay  Magazine  for  January,  1935 


I  I 


Another  glorious 
Hepburn  romance  to 
share  your  treasured 
memories  of  "Little 
Women".  Another  beautiful 
RKO  picture  from  one  of  the 
great  love  stories  of  the  ages.  Another 
radiant  acting  triumph  by  the  year's 
outstanding  star,  as  she  brings  you 
a    role    endearingly    different — the 


fire  and  wistful  tender- 
ness of  Barrie's  immortal  Gypsy  "Babbie". 
Really  something  more  than  a  motion 
picture — a  Christmas  gift  for  your  heart! 


<^4-ll  or  lire  ±  cflaJine^s  .  .  .  all  it  A  pain.  .  .  .  blended  in-  love  A  old  Aweet  zonal 


Brickbats  <&  Boucfiiets 

THE  AUDIENCE  TALKS  BACK 


•  •  •  • 


"V7"OU*D  almost  think  this  was  a  lovelorn  column  or  cupid's 
J-  headquarters  these  days!  Letters  on  Charles  Boyer's  sex- 
appeal,  and  advice  to  dissatisfied  wives,  and  one  on  harems — my, 
my!  We  got  so  steamed  up  we  even  gave  a  prize  to  a  letter  that 
mentioned  sex  twenty-two  times.  It  must  he  that  love's  in 
bloom.  And  it's  nice  to  have  a  good  crop  of  bouquets  floating  in 
for  a  change 


THE  $25  LETTER 

It  was  not  until  I  married  that  I  ever  at- 
tended the  movies. 

When  a  child  I  longed  with  a  passion  that 
became  an  obsession  to  go  to  the  movies.  But 
when  I  saved  penny  by  penny  till  I  had  the 
fare  my  father  wouldn't  hear  of  my  going.  He 
was  surprised  that  a  child  of  his  even  thought 
of  contaminating  herself  by  going  to  "the 
devil's  playhouse." 

Since  my  marriage  I'm  thankful  to  say  I've 
been   a  frequent   attendant  and   I  get  more 
.  pleasure  and   relaxation  from  a  good  movie 
than  from  any  form  of  recreation. 

But  somehow  I  can't  forget  that  forlorn  kid 
who  was  denied  the  supreme  pleasure.  So  each 
week  I  pick  two  children  from  the  poverty 
st  ri(  ken  district  and  take  them  with  me  to  the 
movies.  Their  shining  eyes  and  happy  faces 
are  all  the  thanks  I  need  And  when  I  find  a 
man  or  woman  who  is  blue  and  burdened  with 
troubles  I  press  a  quarter  in  his  or  her  hand  and 
tell  them  to  go  see  a  picture. 

Mrs.  H.  E.  Adam,  Cedartown,  Ga. 

THE  $10  LETTER 

Let's  abolish  sex!  Make  a  law  against  it! 
Sexcommunicate  everybody  who  breaks  the 
law,  no  sexcuses,  no  sexceptions,  no  sexemp- 
ti"iiN  no  sextenuating  circumstances!  Every 
sintelligent  sindividual  should  sindorse  it. 

Let's  have  no  more  of  Eddie  Cantor's  sin- 
uendo,  no  more  of  Wheeler  and  Woolsey's  sin- 
temperance,  no  more  of  Ann  Harding's  sin- 
timacies,  nothing  as  sexotic  as  Kay  Francis,  no 
more  of  Jean  Harlow's  sexpositions,  no  more  of 
the  sexquisite  Garbo  and  the  sinternational 
Sten:  we  must  sexpurgate  the  sexhuberant  Mae 
West,  and  alas,  we  must  sexterminate  the  sex- 
pressive  Harpo  Marx. 

Let's  take  the  sin  out  of  sinema!  No  more 
sextravaganzas  like  "42nd  Street"  and  "Gold 
Diggers."  We  will  show  only  sexalted  sex- 
amples  like  Mickey  Mouse  and  Shirley  Temple, 
who  are  surely  sexempt  from  sexecration. 

We'll  give  the  sinsors  a  break! 

But  what  of  the  sexchequer?  Will  we  pay 
sexpenses?  For  sex  is  still  spelled  Sex!  Can 
w  e  get  a  guarantee  against  sinsolvency? 

Yours  with  much  sinterest, 
Fraxces  M.  Stephenson,  Columbia,  Tenn. 

THE  $5  LETTER 

Last  Winter,  I  was  very  poor.  I  had  a  tem- 
porary job  that  paid  me  five  dollars  a  week — 
barely  enough  for  food  and  shelter.  Christmas 
was  coming.  The  Christmas  trees,  the  tinseled 
shop  windows,  the  "  Silent  Night,  Holy  Night" 
of  the  Salvation  Army  band,  mocked  me.  I'd 
always  loved  Christmas  so.  This  year,  when  I 
could  neither  go  home  nor  send  gifts,  I  hated  it. 

On  Christmas  Eve  I  couldn't  go  to  church — 

12 


there  would  be  old  songs  I  loved,  remem- 
brances, I  couldn't  stand  it. 

I  had  twenty  cents  in  my  purse — and  that 
was  all.  I  knew  a  girl  who  was  penniless. 
"Come  on,  I'll  take  you  to  a  show,"  I  said. 

We  forgot  there  had  been  happier  Christ- 
mases.  We  sat  there  and  saw  the  picture 
through    three    times.      Afterward,    we    ran 


through  the  frosty  night,  and  fell  into  our  beds 
to  get  warm,  re-living  the  picture  until  sleep 
brought  us  forgetfulness. 

If  I  had  my  way,  I'd  give  every  poor  person 
in  the  world  a  free  ticket  to  a  movie  for  a 
Christmas  gift. 

Anita  Pinkiiam,  Minneapolis,  Minn. 

GARBO  VS.  BENNETT 

Having  just  come  from  a  showing  of  "Out- 
cast Lady"  I  am  impelled  to  compare  it  with 
"A  Woman  of  Affairs"  as  played  some  years 
ago  by  Garbo.  Both  pictures,  as  you  know, 
are  made  from  the  book  "The  Green  Hat." 

In  "Outcast  Lady"  Miss  Bennett  gives  a 
smooth,  excellent  performance.  But  never 
once  does  she  make  me  feel  like  that  Iris  is  an 
individual,  a  warm,  living  personality.  It 
seems  to  me  hers  is  a  carefully  studied  tech- 
nique. Polished,  to  be  sure,  but  it  leaves  me 
cold. 

In  "A  Woman  of  Affairs"  Garbo  created  an 
Iris  so  vital,  so  alive  that  my  heart  ached  with 
the  poignancy  of  her  suffering.  While  Miss 
Bennett's  a  clever  young  actress.  Garbo  is  the 
rare  genius  who  interprets  with  an  almost 
divine  understanding  the  souls  of  her  char- 
acters. 

Nora  Delpree,  Kiowa,  Colo. 


When  the  audience  speaks  the  stars  and 
producers  listen.  We  offer  three  prizes  for 
the  best  letters  of  the  month— $25,  $10 
and  $5.  Literary  ability  doesn't  count. 
But  candid  opinions  and  constructive  sug- 
gestions do.  We  reserve  the  right  to  cut 
letters  to  fit  space  limitations.  Address 
The  Editor,  PHOTOPLAY  Magazine,  221 
West  57th  Street,  New  York  City. 


When  Constance  Bennett  played 
Iris  in  the  recent  version  of  "The 
Green  Hat,"  titled  "Outcast 
Lady,"  comparisons  with  Garbo 
were  inevitable.  Male  lead  was 
Herbert  Marshall 


The  lady  reader  who  writes  that 
George  Bancroft  is  a  member  of 
her  screen  star  harem  should  hear 
him  play  chopsticks  with  Roscoe 
Karns.  Georgie's  rendition  is 
irresistible! 


IIAKEM  OF  STARS 

It's  time  we  women  admitted  that  we  really 
are  all  polygamous  at  heart!  When  we  see 
George  Bancroft  portray  real  he-man  parts  in 
which  the  heroine  leads  a  tempestuous,  here- 
today-gone-tomorrow  existence,  we  thrill  to  it 
and  vow  that  is  the  only  life  for  us. 

Until,  we  see  Leslie  Howard  and  Herbert 
Marshall  with  their  quiet  sophisticated  gen- 
tility. Then,  just  as  suddenly,  the  old  heart 
does  a  right-about-face,  for  handsome  Gable  is 
in  the  next  movie  we  see! 

Ah  me!  The  Sultan  of  Turkey  used  to  have 
his  harem  of  women  but  we  women  secretly 
have  our  harem  of  stars. 

Emma  Emmett,  Portland,  Ore. 

CROONERS'  KITTY 

Salvos  of  praise  to  a  new  sensation — Kitty 
Carlisle.  She  actually  looks  intelligent  all  the 
time  that  Bing  is  singing  to  her.  This  is  re- 
freshing after  seeing  other  girls  with  an  inane 
emptiness  of  expression  while  listening  to  the 
crooning  of  the  male. 

Marguerite  Varnes,  Denver,  Colo. 

TILE  COLONEL'S  GREAT  IN  COURT! 

Cheers!    Cheers!    Cheers! 

For  Henry  B.  Walthall,  for  his  splendid  per- 
formance in  the  picture  "Judge  Priest." 

No  other  actor  has  ever  come  so  near  stealing 
a  picture  from  Will  Rogers  as  did  Mr.  Walthall 
in  the  courtroom  scene. 

I  remember  Mr.  Walthall  years  ago  as  the 
Little  Colonel  in  the  picture  "The  Birth  of  a 
Nation."  He  was  a  great  actor,  then.  I  He  is 
great  now. 

T.  Matthews,  Houston,  Tex. 


TEAM  'EM,  STUDIOS 

Here  are  some  screen  teams  we  fans  would 
like  to  see  together: 

Ann  Harding  and  Fredric  March 
Norma  Shearer  and  Clive  Brook 
Claudette  Colbert  and  Ronald  Colman 
Carole  Lombard  and  George  Brent 
Margaret     Sulla  van     and     Robert     Mont- 
gomery 

Madge  Evans  and  Richard  Arlen 
Loretta  Young  and  Joel  McCrea 
Frances  Dee  and  Robert  Young 
Joan  Bennett  and  Lew  Ayres 

B.  Holt,  Fort  Smith,  Ark. 

MORE— 

And  while  you're  on  the  subject  of  screen 
teams,  how  about  Tom  Brown  and  Anita 
Louise?  On  the  screen,  off  the  screen,  they're 
my  idea  of  a  swell  pair! 

June  Ellis,  St.  Louis,  Mo. 

NO  GYP 

Anna  Sten  cost  Sam  Goldwyn  a  million 
dollars.  (So  you  said  in  a  past  issue  of  Photo- 
play.) Well,  believe  me!  She's  worth  it!  I've 
just  seen  Miss  Sten  in  "We  Live  Again,"  and 
while  it  only  cost  me  fifty-five  cents  to  see  the 
show,  I  think  Goldwyn  and  I  both  got  our 
monev's  worth. 

J.  M.  P,  New  York  City 


For  consistently  fine  performances  over  a 
longperiod  of  time  I  vote  a  gold  medal  to  Lewis 
Stone.  I  do  feel,  however,  that  Mr.  Stone's 
mlcs  recently  haven't  been  quite  as  good  as 
they  have  in  the  past.  Please,  Mr.  Movie 
Executive,  keep  Stone  in  leading  or  strong 
supporting  roles. 

R.  L.,  Stamford,  Conn. 

You  can  just  quote  me  as  saying,  "I  have 
just  seen  'The  Gay  Divorcee'  with  Fred 
Astaire  and  Ginger  Rogers,  and  wish  to  say  it 
is  the  most  delightful  picture  I've  seen  for 
years" — and  let  it  go  at  that.  P.  S. — I've  seen 
it  three  times. 

Lilith  Kitchell,  Kansas  City,  Kans. 

CHARLES  HAS  WHAT  IT  TVKKS 

Talk  about  sex-appeal!  I  didn't  know  the 
meaning  of  the  word  until  a  few  days  ago  when 
I  saw  Charles  Boyer  in  "Caravan."  One  day 
Boyer  was  only  another  obscure  actor  to  me 
and  the  next  I  had  him  heading  my  list  i  f 
favorites. 

Bertha  Smith,  Mullins.  S.  C. 

LONG  A  WINNER 

She's  been  my  favorite  star  for  fifteen  years. 
On  the  screen  and  in  the  public  print,  I've 
followed  her  through  flops,  tremendous  suc- 
cesses, changing  roles,  motherhood,  four  mar- 
riages.    I'm  glad  now  to  see  her  back  on  the 


Nearly  nineteen  years  ago  Henry  B.  Walthall 
(above)  won  movie  fame  for  his  fine  portrayal 
of  the  Little  Colonel  in  "The  Birth  of  a  Nation." 
Today  he's  gathering  laurels  for  a  performance 
just  as  outstanding  in  the  Fox  production, 
"Judge  Priest"  fright) 


screen  again,  more  beautiful  than  ever,  in  a 
smashing  good    picture.     I'm    talking   about 
Gloria  Swanson,  star  of  "Music  in  the  Air." 
Evelyn  Andrews,  Des  Moines,  Iowa 

SEALS  FOR  BABES? 


I  thoroughly  enjoyed  your  article,  "Robbing 
the  Cradle  for  Stars,"  in  the  November  Phi  i  i  <>- 

PLAY. 

However,  I  think  the  sudden  outcrop  of  child 
PLEASE  TURN  TO  PAGE  16 


13 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  10  ', 


CRIMSON  ROMANCE— Mascot.— War  story, 
good  flying,  plenty  combat  scenes.  Two  pals,  Ben 
Lyon  and  James  Bush,  both  fliers,  of  course,  fall  in 
love  with  ambulance  driver  Sari  Maritza.     (Dec.) 

DAMES — Warners. — A  barrel  of  good  humor,  and 
excellent  tunes  bv  Dick  Powell,  teamed  again  with 
Ruby  Keeler.  ZaSu  Pitts,  Guy  Kibbee,  Hugh 
Herbert  supply  comedy,  and  Joan  Blondell  lends  a 
snappy  touch.     (Oct.) 

DANCING  MAN — Pyramid. — Mediocre  murder 
mystery,  featuring  Reginald  Denny  as  a  gigolo  in  love 
with  Judith  Allen  and  affairing  with  her  step- 
mother, Natalie  Moorhead.     (Oct.) 

•  DANGEROUS  CORNER— RKO-Radio.— A 
story  with  two  endings — what  happened  and 
the  "cover-up."  Involves  a  "suicide" — actually  a 
murder.  Full  of  startling  revelations.  Ian  Keith, 
Erin  O'Brien  Moore,  Conrad  Nagel,  Melvyn  Douglas, 
Virginia  Bruce,  others.     Excellent.     (Dec.) 

DEATH  ON  THE  DIAMOND— M-G-M  —  Im- 
probable in  spots,  yet  meat  for  baseball  and  mystery 
devotees.  Paul  Kelly  convincing  as  a  reporter. 
Robert  Young  and  Madge  Evans  love  interest.  (Nov.) 

DEFENSE  RESTS,  THE— Columbia.— Enter- 
taining story  of  a  none-too-ethical  but  unbeatable 
criminal  lawyer  (Jack  Holt)  forced  to  defend  a  kid- 
naper.   Jean  Arthur.     (Nov.) 

DESI RABLE— Warners— A  neat  gem  that  will 
please  the  entire  family.  New  laurels  for  Jean  Muir 
and  George  Brent.     (Nov.) 

•  DOUBLE  DOOR— Paramount.— A  sinister, 
melodramatic  plot  that  works  up  to  a  terrific 
climax.  Mary  Morris  is  aptly  cast  as  the  spinster  who 
cruelly  rules  over  brother  Kent  Taylor,  sister  Anne 
Revere,  and   Kent's  bride,   Evelyn  Venable.     (July) 

DOWN    TO    THEIR    LAST    YACHT— RKO- 

Radio. — Fine  cast  wasted  in  this  tale  of  "Blue 
Bookers"  of  1929  giving  away  to  "Brad  Streeters"  of 
1934.  Sidney  Fox,  Ned  Sparks,  Polly  Moran,  Mary 
Boland,  Sidney  Blackmer.     (Nov.) 

DRAGON      MURDER      CASE,      THE  —  First 

National. — Not  up  to  the  S.  S.  Van  Dine  standard — 
nevertheless  satisfactory  film  fare.  Warren  William 
is  a  convincing  Philo  Vance.  Helen  Lowell,  Mar- 
garet Lindsay,  Lyle  Talbot.     (Nov.) 

DR.  MONICA — Warners. — Kay  Francis  handles 
the  title  role  with  finesse.  And  Jean  Muir,  as  the 
friend  in  love  with  Kay's  husband  (Warren  William), 
is  superb.     (Sept.) 

DUDE  RANGER,  THE— Fox.— If  you  like  West- 
erns, you  may  like  this  one.  George  O'Brien  rides. 
Irene  Hervey,  Leroy  Mason,  Henry  Hall  in  it.    (Dec.) 

ELMER  AND  ELSIE— Paramount.— Light  family 
fare,  with  Frances  Fuller  and  George  Bancroft  who 
reveals  hitherto  concealed  comedy  talents.     (Oct.) 

EMBARRASSING  MOMENTS— Universal— In 
the  role  of  a  practical  joker,  Chester  Morris  does  an 
excellent  acting  job,  and  there's  never  a  dull  moment. 
Marian    Nixon,    Walter    Woolf.      (Aug.) 


FOG  OVER  FRISCO— First  National.— Fairly 
exciting  mystery  is  provided  when  Bette  Davis 
becomes  "fence"  in.stolen  security  racket.  And  there's 
romance  by  Margaret  Lindsay  and  Donald  Woods, 
Lyle  Talbot,  Arthur  Byron.    (July) 

FOR  LOVE  OR  MONEY— British  &  Dominion. 
— Catalogue  this  one  under  "Mild  and  Slow-Moving." 
Wendy  Barrie  and  Robert  Donat  play  the  leads. 
(Oct.) 

FOUNTAIN,  THE— RKO-Radio.— Rather  slow- 
moving,  yet  exquisitely  produced  with  a  capable  cast 
including  Ann  Harding,  Paul  Lukas  and  Brian 
Aherne.     (Nov.) 

FRIDAY  THE  13th— Gaumont-British.— An  in- 
teresting and  revealing  check-back  on  the  activities 
of  several  persons  who  are  in  a  bus  crash  at  mid- 
night of  this  fateful  day.      (Aug.) 

FRIENDS  OF  MR.  SWEENEY— Warners.— Fair 
slapstick,  with  Charles  Ruggles  a  scream  as  the  row- 
dy college  lad  who  becomes  a  brow-beaten  editorial 
writer.     Eugene  Pallette,  Ann  Dvorak.      (Aug.) 

•  GAY  DIVORCF-E,  THE  —  RKO-Radio.  — 
Grandly  amusing.  Fred  Astaire's  educated 
dancing  feet  paired  with  those  of  Ginger  Rogers. 
He's  mistaken  for  a  professional  corespondent  by 
Ginger,  seeking  a  divorce.  Edward  Everett  Horton, 
Alice  Brady  pointed  foils.     (Dec.) 

•  GIFT  OF  GAB— Universal.— Edmund  Lowe, 
fast  talking  news  announcer,  flops,  but  is 
boosted  up  by  Gloria  Stuart.  Story  frame  for  gags, 
songs,  sketches.  Alexander  Woollcott]  Phil  Baker, 
Ethel  Waters,  Alice  White,  Victor  Moore.     (Dec.) 

•  GIRL  FROM  MISSOURI,  THE— M-G-M. 
— Fast  and  furious  adult  fare,  presenting  Jean 
Harlow  as  a  "good  girl"  chorine,  and  Franchot 
Tone  as  her  millionaire  "catch."  Fine  cast  includes 
Lionel  Barrymore.      (Oct.) 

GIRL  OF  THE  LIMBERLOST,  A— Monogram. 
— Folks  who  enjoyed  Gene  Stratton  Porter's  novel 
will  want  to  see  this.  Marian  Marsh,  Louise  Dresser, 
Ralph  Morgan  well  cast.     (Nov.) 

GRAND  CANARY— Fox.— Weak  tale  of  a  doctor 
(Warner  Baxter)  who,  having  been  "gossiped"  out  of 
his  profession,  recaptures  past  standing  by  wiping  out 
a  plague  of  yellow  fever.  Madge  Evans  is  his 
romance.      (Sept.) 

GREAT  FLIRTATION,  THE— Paramount- 
Jumbled  and  sentimental  but  colorful  story  of  an 
actor's  (Adolphe  Menjou)  losing  popularity  with 
marriage,  and  his  wife  (Elissa  Landi)  becoming  a 
star.      (.4  ug.) 

HALF  A  SINNER— Universal.— Film  version  of 
"Alias  the  Deacon,"  with  Berton  Churchill  again 
rating  loud  handclaps.  Joel  McCrea  and  Sallie  Blane 
are  the  love  interest.  And  Mickey  Rooney  is  a  good 
little  comedian.    (July) 

•  HANDY  ANDY— Fox.— As  the  apothecary. 
Will  Rogers  does  another  of  his  priceless  char- 
acterizations. Besides  an  A-l  cast — Peggy  Wood, 
Mary  Carlisle  and  Frank  Melton — there  is  good  dia- 
logue and  believable  burlesque.    (July) 


•  HAPPINESS  AHEAD  —  First  National.  — 
Tuneful  and  peppy.  About  a  wealthy  miss  and 
(honest!)  a  window  washer.  Josephine  Hutchinson 
(fresh  from  the  stage),  and  Dick  Powell  are  the  two. 
You'll  like  it  and  hum  the  tunes.     (Dec.) 

HAPPY  LANDING— Monogram.— Plenty  of 
thrills  when  Border  Patroller  Ray  Walker  goes  after 
crooks  who  use  the  radio  to  get  him  in  a  jam,  and 
threaten  bombing  an  ocean  liner.  A-l  support. 
(Oct.) 

HAT,  COAT  AND  GLOVE— RKO-Radio.— Fair 
adaptation  of  the  stage  play,  in  which  lawyer  Ricardo 
Cortez  defends  his  wife's  lover,  accused  of  murder. 
Superb  performances  by  every  cast  member.     (Oct.) 

HAVE  A  HEART— M-G-M.— A  wistful  tale  about 
the  love  of  a  cripple  (Jean  Parker)  for  an  ice-cream 
vendor  (Jimmy  Dunn).  Una  Merkel  -  Stuart  Erwin 
are  a  good  comedy  team.     (Nov.) 

HEART  SONG— Fox-Gaumont-British— A  pleas- 
ant little  English  film  with  Lilian  Harvey  and  Charles 
Boyer.      (Sept.) 

HERE    COMES   THE    GROOM— Paramount  — 

So-so  comedy  featuring  Jack  Haley  whom  Patricia 
Ellis  introduces  to  family  as  her  crooner  husband. 
But  the  real  crooner  turns  up — and  then!      (Aug.) 

•  HERE  COMES  THE  NAVY— Warners.— One 
of  the  best  Cagney  pictures  to  date,  and  prob- 
ably the  most  exciting  navy  picture  you've  seen. 
Jimmy,  Pat  O'Brien,  Gloria  Stuart  and  Frank 
McHugli  all  turn  in  ace  performances.     (Sept.) 

HE  WAS  HER  MAN— Warners.— Jimmy  Cagney 
in  a  gangster  film  with  a  brand-new  angle.  Joan 
Blondell,    Victor    Jory.     Fair.      (Aug.) 

•  HIDE-OUT— M-G-M.— As  a  racketeer  play- 
boy, escaped  from  police,  and  being  "done 
over"  by  Maureen  O'Sullivan.  Robert  Montgomery 
does  a  fine  job.  In  fact,  every  one  in  the  cast  rates 
praise.      (Oct.) 

HIGH  SCHOOL  GIRL— Bryan  Foy  Prod.— Plot 

and  dialogue  are  directed  toward  early  sex  knowledge. 
Well  presented.  Crane  Wilbur,  Cecilia  Parker. 
(Aug.) 

•  HIS  GREATEST  GAMBLE— RKO- Radio- 
Richard  Dix's  struggle  with  his  convention- 
loving  wife  for  the  molding  of  daughter  Edith  Fellows' 
character  makes  interesting  screen  fare.  Dorothy 
Wilson  and  Bruce  Cabot.     (Sept.) 

HOUSEWIFE— Warners.— Encouraged  by  his 
wife  (Ann  Dvorak),  George  Brent  starts  his  own 
business,  acquiring  wealth  and  a  mistress  (Bette 
Davis).     Just  so-so  entertainment.     (Oct.) 

•  HUMAN  SIDE,  THE— Universal.— Accu- 
rately titled — a  family  story  that  is  entertain- 
ing from  start  to  finish.  Adolphe  Menjou,  Doris 
Kenyon,  Reginald  Owen.     (Nov.) 

I  CAN'T  ESCAPE— Beacon  Prod.— Onslow 
Stevens  does  a  grand  characterization  of  the  ex- 
convict  who  goes  straight  when  he  meets  the  right 
girl     (Lila    Lee).      (Aug.) 


Photoplays  Reviewed  in  the  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evening's  entertainment.    Ma\e  this  your  reference  list. 


Page 
Anne  of  Green  Gables — RKO-Radio ...  75 
Autumn  Crocus  —  Associated  Talking 

Pictures 120 

Broadway  Bill — Columbia 73 

Captain  Hates  the  Sea,  The — Columbia  74 

Cheating  Cheaters — Universal 120 

College  Rhythm — Paramount 74 

Elinor  Norton — Fox 120 

Enter  Madame — Paramount 120 

Evelyn  Prentice — M-G-M 74 

Firebird,  The — Warners 74 

Flirtation  Walk— First  National 74 

Fugitive  Lady — Columbia 120 

Gay  Bride,  The— M-G-M 120 


Page 
Gentlemen  Are  Born — First  National. .   75 

Great  Expectations — Universal 73 

Girl  O'  My  Dreams— Monogram 120 

Green  Eyes — Chesterfield 120 

Hell  in  the  Heavens — Fox 75 

I  Sell  Anything— First  National 120 

Kentucky  Kernels — RKO-Radio 74 

Kid  Millions — Samuel  Goldwyn-United 

Artists 72 

Lightning  Strikes  Twice— RKO-Radio.  120 

Limehouse  Blues — Paramount 120 

Little  Friend — Gaumont-British 75 

Lost  in  the  Stratosphere — Monogram..  120 


Page 

Loyalties — Harold  Auten  Prod 120 

Man  of  Aran — Gaumont-British 75 

Music  in  the  Air — Fox 73 

Norah  O'Neale— Clifton-Hurst  Prod..  .120 

Painted  Veil,  The— M-G-M 72 

Return  of  Chandu,  The — Principal. .  .  .120 

St.  Louis  Kid,  The — Warners 75 

Secrets    of    Hollywood — Scott-Merrick 

Prod 120 

Transatlantic      Merry  -  Go  -  Round  — 

United  Artists 120 

White  Parade,  The— Fox 72 

Without  Children— Liberty 120 


u 


I  GIVE  MY  LOVE— Universal.— Paul  Lukas, 
Wvnne  Gibson,  Eric  Linden,  John  Darrow  all  de- 
serve better  than  this  familiar  story  of  the  mother 
who  makes  a  great  sacrifice  for  her  son.   (Aug.) 

I  HATE  WOMEN— Goldsmith  Prod.— Intrust- 
ing  newspaper  story  about  Wallace  Ford,  confirmed 
woman-hater,  falling  for  June  Clyde.  Good  comedy 
by  Fuzzy  Knight.  Bradley  Page,  Barbara  Rogers  and 
Alexander  Carr  also  in  cast.    (July) 

IT'S  A  BOY— Gainsborough.— In  this  British 
farce,  Edward  Everett  Horton  is  top-notch,  but  that 
isn't  quite  enough  to  carry  the  whole  picture.    (Sept.) 

JANE  EYRE — Monogram. — The  old  classic,  han- 
dled with  taste,  but  slow  in  the  telling.  Virginia 
Hi  uee  is  very  beautiful,  and  Colin  Clive  does  a  good 
acting  job.      (Sept.) 

•     JUDGE  PRIEST— Fox.— Will   Rogers  makes 
Irvin  S.  Cobb's  humorously  philosophical  char- 

actei  live  so  enjoyable,  you  wish  you  were  a  part  of 
the  drowsj  Kentucky  setting.  The  music  heightens 
your  desire.  Tom  Brown,  Anita  Louise  the  love  in- 
terest.    Perfect  cast.     (Dec.) 

JUST  SMIT  H — Gaumont- British. — Amusing 
comedy,  from  Frederick  Lonsdale's  play  "Never 
Come  Back,"  boasting  an  all-English  cast  headed  by 
Tom  Walls.    Monte  Carlo  locale.    (July) 

KANSAS  CITY  PRINCESS,  THE— Warners.— 
Comedy,  "so-called,"  about  two  manicurists  (Joan 
Blondell,  Glenda  Karrell)  out  to  do  some  gold- 
digging.     Not  for  children.     (Nov.) 

KEY,  THE — Warners. — Melodrama  about  the 
Sinn  Feiners  warfare  witli  English  troops  in  Dublin 
in  1<)20.  Colin  Clive,  William  Powell,  Edna  Best. 
Plot   weak    in   spots.      (Aug.) 

KISS  AND  MAKE-UP— Paramount.— Plenty  of 
laughs  while  Genevieve  Tobin  divorces  Edward 
Everett  Horton  to  marry  beauty  specialist  Cary 
Grant  who  really  loves  Helen  Mack.      (Aug.) 

•  LADIES  SHOULD  LISTEN— Paramount  — 
Delightfully  adult  society  comedy,  with  Cary 
Grant  revealing  himself  as  a  farceur  of  distinction  in 
the  role  of  a  Parisian  bachelor.  Frances  Drake, 
Edward  Everett  Horton  and  Nydia  Westman  all 
splendid.      (Oct.) 

•  LADY  BY  CHOICE— Columbia.— Fresh  and 
original,  with  a  new  situation  for  May  Robson. 
Carole  Lombard,  fan  dancer,  "adopts"  May,  an 
irrepressible  alcoholic,  as  her  mother  for  a  publicity 
gag.    Roger  Pryor,  Walter  Connolly  important.  (Dec.) 

LADY  IS  WILLING,  THE— Columbia.— Leslie 
Howard  in  a  mild  little  English  farce.  Binnie  Barnes, 
Nigel  Bruce.     (Nov.) 

•  LAST  GENTLEMAN,  THE— 20th  Century- 
United  Artists. — An  interesting  character 
study  of  an  eccentric  old  man  (George  Arliss)  who 
can't  decide  on  his  heir.  Real,  refreshing  and  enter- 
taining.    Splendid   support.      (Aug.) 

LAST  WILDERNESS,  THE— Jerry  Fairbanks 
Prod. — A  most  effective  wild  animal  life  picture. 
Hasn't  bothered  with  the  sensational  and  melo- 
dramatic. Howard  Hill  deadly  with  bow  and  arrow. 
(Dec.) 

LAUGHING  BOY— M-G-M.— Dull,  slow-mov- 
ing filmfare  about  Indian  boy  Ramon  Novarro's  love 
for  Lupe  Velez  who  knows  evil  ways  of  the  white 
race.     Effective  photography.      (Aug.) 

LEMON  DROP  KID,  THE— Paramount.— A 
race-track  tout  goes  straight  for  marriage  and  a  baby. 
Lee  Tracy,  Helen  Mack,  William  Frawley,  Baby 
LeRoy,  Minna  Gombell,  Henry  B.  Walthall.     (Dec.) 

•  LET'S  TALK  IT  OVER— Universal- 
Young  and  old  will  be  amused  by  the  trans- 
formation of  sailor  Mike  McGann  (Chester  Morris). 
All  for  the  love  of  a  society  damsel  (Mae  Clarke). 
Wag.) 

LET'S  TRY  AGAIN— RKO- Radio.— Slow-mov- 
ing and  much  too  talkie  is  this  film  in  which  Diana 
\\  ynyard  and  Clive  Brook  play  a  ten-years-married 
couple  falling  out  of  love.    Helen  Vinson.     (Oct.) 

LIFE    OF    VERGIE    WINTERS,    THE— RKO- 

Radio. — Louis  Bromfield's  story  of  a  lingering, 
illicit  love  sacrificed  to  a  political  career  is  well  acted 
by  Ann  Harding  and  John  Boles.  Supporting  cast 
first-rate.     (Aug.) 

•  LITTLE  MAN,  WHAT  NOW?— Universal.— 
Touching  and  very  real  is  this  story  of  a  young 
couple's  struggle  with  life.  Margaret  Sullavan  is 
superb,  and  Douglass  Montgomery's  role  fits  him 
like  a  glove.      (Aug.) 

•     LITTLE     MISS     MARKER— Paramount.— 
Baby   Shirley  Temple,  left  as  security  for  an 
I.  O.  V.,  simply  snatches  this  film  from  such  com- 
petent hands  as  Adolphe  Menjou,  Charles  Bickford, 
and  Dorothy  Dell.    Don't  miss  it.    (July) 
[  PLEASE  TURN  TO  PACE  110  1 


Photoplay  Magazine  for  January,  1935  i  r 

TWO  BRILLIANT  STARS  BROUGHT  TOGETHER 
IN  A  HEAVENLY  PICTURE 

The  producers  of  "It  Happened  One  Night","Lady  For  A  Day" 

and      One    Night    Of  Love      Now    Bring    You    The    Greatest 

Romantic  Comedy  Of  All  Time  I 


\Jreat  Alone  .  .  . 
Perfect    Together  I 

WA  R  N  -E  R 


M  Y  R  N  A 


BAXT-ER    LOY 


A  FRANK  CAPRA 

PRODUCTION 

By  Based  on  the  story  by 

ROBERT    RISKIN  MARK    HELLINGER 

with    WALTER    CONNOLLY 

HELEN    VINSON 
A    COLUMBIA    PICTURE 


Ask  at   your   favorite   theatre   when   this  picture    will  he   shown 


Brickbats  &  Bouquets 

DON'T   SAY    IT,  WRITE    IT 


•  •  •  © 


•  •  •  • 


CONTINUED  FROM  PAGE    13 


talent  on  the  screen  is  just  a  passing  fancy. 
Today  a  cunning  child  tops  handsome  heroes 
and  beautiful  girls  at  the  box-office  any  night 
in  the  week.  But  by  tomorrow  the  pendulum 
of  public  favor  may  swing  from  babes  to  black- 
faced  comedians  or  trained  seals.  Who  knows? 
George  Mack,  Omaha,  Neb. 


WANTED: 


NETWORK 


If  I  had  a  million  I'd  buy  a  radio  station  and 
give  coast-to-coast  broadcasts  in  praise  of 
Helen  Mack.  As  it  is,  I'll  have  to  content  my- 
self with  a  twenty-five  cent  megaphone,  which 
will  serve  the  same  purpose  in  a  smaller  way. 
I  think  she's  one  of  the  grandest  little  actresses 
on  the  screen,  and  certainly  the  prettiest. 

A.  R.  L.,  Knoxville,  Tenn. 

AMEN ! 

"The  Barretts  of  Wimpole  Street,"  this  very 
night,  has  taught  me  the  difference  between 
the  Amen  of  a  parent  who  breeds  hate  and  fear 
in  the  souls  of  his  children  and  the  Amen  of 
love,  capable  of  destroying  illness  and  the  fear 
of  death.  No  greater  sermon  has  ever  been 
preached   than  by  this  stirring  drama.     If  I 


were  given  one  wish,  it  would  be  that  every 
mother  and  father  who  dominate  their  sons  and 
daughters  might  see  this  picture. 
Mrs.  Harold  Van  Tassell,  Newark,  Ohio 

MRS.  CUPID 

I  would  like  to  say  a  word  to  all  dissatisfied 
wives.    Annex  a  movie  hero! 

The  advantages  are  numerous: 

No  broken  homes. 

No  lawyers'  fees. 

No  half  orphaned  children. 

No  scandal. 

No  divorce. 

When  the  world  goes  wrong  just  take  the 
afternoon  off  and  see  your  favorite  movie  star. 
For  a  blissful  hour  you  will  be  the  most  desired 
of  all  women,  your  every  wish  granted  by  a 
handsome  man  who  is  always  romantic  (as  our 
John  never  was),  never  forgets  to  be  polite  and 
never,  never  makes  a  scene  over  the  bills. 

You  will  return  home  from  a  movie  with  a 
veneer  of  well  being  that  can  withstand  being 
blamed  for  everything,  from  junior's  tummy 
ache  to  the  rain's  spoiling  an  afternoon  of  golf. 
And  it  costs  so  little! 

Mary  Miksch,  Clovis,  N.  M. 

MOVIE  MIRACLE 

The  police  department  of  a  hamlet  went  to 
the  home  of  a  man  upon  being  informed  that 
contraband  articles — machine  guns,  pistols, 
counterfeit  money,  etc. — were  hidden  there. 

They  surrounded  the  house,  then  the  captain 
stole  in  quietly  and  covered  the  suspect.  At 
the  police  station  after  the  suspect  was  booked, 
the  captain  asked  him  why  he  had  not  tried  to 
escape,  and  why  he  had  not  continued  to  keep 
the  contraband  hidden. 

The  man  answered,  "  I  saw  a  movie  last 
night,  'The  Defense  Rests,'  with  Jack  Holt. 
I've  been  thinking  it  over  and  decided  to  end 
my  career  of  crime  myself,  before  another  ends 
it  forme.    I'm  willing  to  take  my  punishment." 

Charles  Enibindek,  Minneapolis,  Minn. 


We  don't  know  whether  or 
not  Anna  Sten  can  win  at 
ping  pong,  but  she  certainly 
comes  out  on  top  with  the 
movie  audience !  Latest 
fame-winner  for  Miss  Sten 
is  "We  Live  Again" 


Lewis  Stone  is  dashing  over 
to  the  M-G-M  lot  to  begin 
work  on  "David  Copper- 
field."  That  should  satisfy 
admirers  who  feel  his  recent 
roles  haven't  been  up  to 
past  standards 


Call  off  the  bloodhounds!  Little  man,  you've  had  a  busy  day! 
Irvin  S.  Cobb  is  all  worn  out  after  his  jail  break.  People  have 
been  hollering  for  funnier  comedies,  so  Colonel  Cobb  is  com- 
ing through  with  a  series  for  Hal  Roach,  one  of  which  is  "The 
Ballad  of  Paducah  Jail."  Cobb  says  it  isn't  biographical,  even 
if  it  is  about  Paducah 

16 


HATS  OFF,  PLEASE 

It  ain't  no  sin  to  go  to  the  movies,  but  it  is  a 
sin  to  lose  one's  temper  and  swear. 

Along  with  the  Mae  West  influence  and  the 
"Gay  Nineties"  styles,  large  hats  have  reap- 
peared. 

We  sit  behind  them  swearing  to  ourselves, 
missing  half  the  picture,  craning  our  necks. 

Isn't  it  about  time  to  display  that  old  sign 
on  the  screen  again,  "Will  the  ladies  please 
remove  their  hats?" 

Mrs.  Paul  Redeker,  Springfield,  111. 

HAPPY  ENDINGS? 

There  seems  to  be  some  timidity  on  the  part 
of  producers  in  making  pictures  with  tragic 
endings. 

I  have  noticed  it  in  two  recent  productions, 
"Chained"  and  "British  Agent." 

Here  were  two  fine  pictures,  yet  I  know  I 
would  remember  them  longer  if  in  "  British 
Agent"  Leslie  Howard  and  Kay  Francis  had 
died  together  as  would  have  happened  in  real 
life,  and  if  in  "Chained"  Joan  Crawford  had 
stayed  chained  and  not  given  up  at  the  last 
minute. 

These  and  other  productions  have  failed  to 
reach  top  because  of  melodramatic,  artificial 
endings  which  you  feel  are  not  real. 

Lennox  Allen,  Winter  Park,  Fla. 

DIDN'T  EVEN  CHANGE  THE  TITLE! 

My  pet  movie  peeve  recently  is  against  pro- 
ducers for  their  ruthless  distortion  of  stories  in 
adapting  books  to  the  screen. 

I  salute,  however,  with  a  high  hand  RKO- 
Radio  for  its  splendid  production  from  Mrs. 
Wharton's  charming  book,  "The  Age  of  In- 
nocence." 

Its  flawless  photography,  perfection  of  cast, 
fine  fidelity  to  custom  and  costume  of  the 
period   and    the   beautiful   and    accurate   con- 


tinuity of  the  text,  places  this  movie  in   my 
gallery  of  exquisite  picture  memories. 

A.  Watson,  Oak  Park,  111. 

STUPENDOUS  PANCAKE 

I've  discovered  when  a  picture  is  advertised 
as  stupendous,  colossal,  dazzling,  gigantic, 
thrilling,  it  usually  is  very  disappointing  and 
sometimes  as  flat  as  the  proverbial  pancake. 

Why  all  the  ado  over  so-called  "big"  pic- 
tures? 
Agnus  McTague,  Colorado  Springs,  Colo. 

POET'S  PRAISE 

After  seeing  "The  Barretts  of  Wimpole 
St  reel "  one  can  rightly  agree  with  Robert 
Browning: 

"God's  in  his  heaven, 

All's  right  with  the  world." 
Well,  the  cinema  world,  anyway. 

M.  McKey,  Dallas,  Texas 

NIOHTHOOD  IS  IN  FLOWER 

Surely  a  splendid  production  like  "One 
Night  of  Love,"  featuring  Grace  Moore,  could 
have  had  a  more  appropriate  title.  Not  often 
are  we  given  a  superb  picture  like  this  one. 
But  why  the  title? 

I  have  seen  seven  pictures  in  recent  months 
with  the  word  "night"  in  the  titles!  Dawn 
(once  a  favorite  word  with  title  thinker- 
uppers)  has  apparently  faded  into  night.  Why 
not  give  dusk  or  evening  a  chance?  Nice 
words,  too. 

And  also  made  for  love. 
Mrs.  Mary  R.  Brooke,  Hollywood,  Calif. 

A  news  article  never  appears  concerning  a 
marriage,  divorce,  extravagance  or  scandal 
about  an  actor  or  actress  that  someone  doesn't 
exclaim,  "Those  movie  people!  Isn't  it  ter- 
rible?" And  a  barrage  of  unkind  criticism  fol- 
lows. 

We  put  them  in  glass  houses  so  we  can  watch 
their  personal  lives.  Is  it  fair,  then,  to  stand 
off  and   throw   stones? 

Mrs    A i  ice  ('.  WOOD,  Phoenix,  Ariz. 


CHILDISH  AMERICANS? 

Traveling  about  Australia  I  have  often 
heard  the  cry,  "We're  tired  of  American  movie 
nonsense.  It's  so  childish.  Why  doesn't 
America  grow  up?"  And  any  intelligent  per- 
son can  see  this  plea  is  justified! 

America,  look  to  your  laurels!  There  are 
Other  countries  making  pictures  now. 

J.  A.  Glennon,  South    Australia. 

DODGE  JEM,  HOLLYWOOD! 

I'd  like  to  know  if  the  following  "entertain- 
ment" doesn't  rate  a  wagonload  of  brickbats: 

Two  lugubrious  comedies. 

One  pathetic  imitation  of  a  Walt  Disney 
cartoon. 

A  news  reel  with  only  one  bright  spot — a 
passing  shot  of  Will  Rogers  in  Japan. 

And  "Chained,"  ill-starring  Joan  Crawford 
and  Clark  Gable,  who,  of  course,  couldn't  help 
it  if  their  vehicle  had  flat  tires,  a  lungless  motor 
and  no  particular  design. 

Please  tell  Hecht  and  MacArthur  to  hurry 
to  the  rescue! 

Marie  Brennan,  St.  Louis,  Mo. 

I  am  a  farmer  boy — the  old-fashioned,  gar- 
den variety.  I  rise  at  4:30  in  the  morning, 
bring  the  cows  from  the  pasture,  milk  them, 
feed  the  horses,  the  pigs,  the  chickens,  then 
begin  on  the  real  day's  work.  If  it's  July,  I 
cut  hay;  if  it's  March,  I  make  maple  syrup. 
Summer,  winter,  spring  and  fall — there's  al- 
ways something  to  be  done. 

But  in  the  evening  I  drive  dull  care  away. 
Get  my  sweetheart  and  go  into  town  to  watch 
a  love  story  on  the  screen.  Whoopie!  I  even 
forget  about  the  alarm  clock! 

Archie  R.  Albro,  Marathon,  N.  Y. 

NO  SALE  ON  SHORTS 

Why  the  sudden  hue  and  cry  against  double 
feature  programs?  I  prefer  two  long  features, 
even  if  one  is  inferior,  to  a  lot  of  unfunny 
comedies,  silly  shorts,  and  news  that  often 
isn't  news. 

Ruth  King,  Cranford,  New  Jersey. 


Helen  Mack  comes  in  for  a  big 
bouquet  this  month.  Here  she 
is  attending  the  preview  of  "The 
Lemon  Drop  Kid."  Her  escort 
is  Charles  Irwin,  and  he  usually 
goes  where  Helen  goes,  making 
it  a  romance 


Are  children  screen  players  just 
a  fad?  One  reader  says  so. 
Baby  Juanita  Quigley  and 
Marilyn  Knowlden,  on  the  set 
of  "Imitation  of  Life,"  hope  it 
isn't  true.  They're  having  too 
good  a  time 


/?' 


STEFFI  DUN  A  listens  to  Regis  Toomey  cooing  sweet  nothings  in  a  scene  from 
RKO's  tale  of  the  South  Seas,  "Kara."  It's  quite  a  change  for  Steffi  from  her 
many-flounced  Spanish  costumes  of  "La  Cucaracha,"  sensational  Technicolor 
short.    The  previous  assignment  for  Regis  was  in  Majestic's  "She  Had  to  Choose" 


OYLVIA  SIDNEY  looks  to  be  a  very  pensive  little  Indian  girl.  But  actually, 
'-'she  is  enjoying  herself  immensely.  Because  Sylvia,  in  between  her  own  scenes, 
likes  nothing  better  than  to  sit  on  the  sidelines  and  watch  the  work  of  the  other 
players.     She  wears  this  lavish  tribal  garb  in  Paramount^  "Behold  My  Wife" 


Clarence  Sinclair  Bull 


PATRICIAN  ANN  HARDING,  cool  and  poised,  as  she  appears  in  the  M-G-M 
picture,  "Biography  of  a  Bachelor  Girl,"  in  which  she  is  co-starred  with  Bob 
Montgomery.  Ann,  a  tennis  addict,  was  compelled  by  the  doctor  to  give  up  her 
racket  during  the  filming  of  this  production.    It  was  sapping  all  of  her  vitality 


By 
Kathryn  Dougherty 


WHEN,  several  years  ago,  I  saw  Helen  Hayes  on  the  New  York 
stage  in  "What  Every  Woman  Knows,"  I  had  a  fleeting  wish — 
which  soon  vanished  as  hopeless — that  I  might  some  day  see  this  dis- 
tinguished little  lady  on  the  screen  in  the  same  role. 

Therefore,  I  was  more  than  delighted  when,  a  few  months  ago,  M-G-M  an- 
nounced that  Miss  Hayes  was  on  her  way  to  Hollywood  to  bring  to  life  once  more 
the  unmatchable  Maggie  of  Barrie's  creation. 

Miss  Hayes,  who  never  once  in  her  whole  career  failed  to  portray  splendidly  any 
role  she  essayed,  has,  I  believe,  never  surpassed,  either  on  stage  or  screen,  this  latest 
production. 

You  have  probably  seen  "What  Every  Woman  Knows."  If  you  haven't,  it  is 
likely  there  will  be  a  later  billing  in  your  town.  Everyone  who  has  once  seen  it  is 
eager  to  see  it  again.     You'll  be  sorry  if  you  miss  it. 


IT  pays  to  screen  a  good  story.     Walter  Wanger,  who  produced  the  sensational 
picture  "The  President  Vanishes,"  estimates,  it  is  said,  that  the  studios'  expendi- 
ture for  indifferent  material  runs  far  ahead  of  that  for  really  good  stories. 

Mr.  Wanger's  estimate  is  that  of  $'-2, 500, 000  expended  in  five  years  for  stories, 
only  one  quarter  of  that  sum  has  purchased  real  quality.  The  rest  may  be  classified 
as  poor. 


IN  last  month's  Photoplay  you  read  an  article  entitled  "Let's  Go  To  Tomorrow's 
Movies,"  in  which  the  prediction  was  made  that,  by  1940,  the  screening  of 
pictures  by  television  in  your  home  would  be  practicable.  Now,  M.  H.  Aylesworth, 
President  of  the  National  Broadcasting  Company,  announces  he  believes  this  dream 
will  come  true,  and  that  we  can  enjoy  in  our  easy  chairs  current  news  features, 
instead  of  going  to  the  theater  to  see  them. 

From  this,  it  looks  as  though  our  news  is  going  to  be  truly  pictorial,  and  that 
the  newspapers  of  the  future  may  have  strong  competition. 

Incidentally,  Mr.  Aylesworth  allows  five  years  for  the  consummation  of  this  idea. 


THOSE  stinging  little  gnats,  the  "quickies,"  are  annoying  the  major  studios.  A 
"quickie"  manufacturer,  you  know,  is  usually  an  enterprisingfellow  who  manages 
to  get  together  enough  cash  to  turn  out  a  picture  fast.  He  releases  it  through  the 
lower  priced  theaters  and  often  makes  a  neat  profit  on  each  production. 

The  big,  well-established  studios  see  no  reason  why  they  should  not  have  some 
of  this  profit,  too.  Plans  are  being  considered  by  them  for  this  type  of  production. 
The  major  studios  certainly  will  turn  out  as  good,  probably  better  films  than  these 


little  competitors.    And,  as  an  added  advantage,  these  "quickies"  could  serve  as  ;i 
training  school  for  many  actors. 

THE  life  of  the  late  Lou  Tellegen  was  really  an  epitome  of  a  considerable  period 
of  motion  picture  history.    It  was  romantic,  dramatic,  tragic. 

About  1915  he  entered  into  a  contract  with  Famous  Players,  and  for  the  next 
decade  his  star  was  in  the  ascendent.  Tellegen  was  unique  in  the  fact  that  he 
was  representative  of  every  phase  of  the  motion  picture  colony. 

Fame  suddenly  flamed  before  him  when  Sarah  Bernhardt  gave  him  a  leading  role 
in  "Madame  X"  for  her  American  tour.  The  stage  was  his  by  inheritance.  His 
mother  was  a  Dutch  dancer.  At  the  age  of  eighteen,  he  appeared  as  Romeo,  and  in 
Ibsen's  "Ghosts." 

After  his  appearance  with  Bernhardt,  his  career  secure,  he  became  a  tremendous 
matinee  idol. 

Jesse  Lasky  gathered  about  him  celebrated  names,  and  Tellegen  was  one  of  them. 
His  Broadway  fame,  through  the  medium  of  the  screen,  was  reflected  in  every  city 
and  village. 

Tellegen  became  a  symbol  for  Hollywood.  His  charming  personality,  his  good 
looks,  his  grace  of  manner,  his  appeal  to  women  everywhere,  his  sensational  mar- 
riages and  divorces  established  in  the  public's  mind  a  conception  of  a  Hollywood 
that  was  really  mythical. 

No  man  could  live  at  such  a  dazzling  pace  forever.  When  fortune  turned,  he 
fought  bravely  to  keep  up  a  front.  Only  an  incurable  illness  finally  conquered  him. 
Though  he  could  no  longer  stave  off  defeat,  nevertheless,  we  must  take  off  our  hats 
to  him. 


THERE'S  going  to  be  more  real  music  in  the  air  than  we  ever  dreamed  of. 
Maybe  the  intelligence  norm  of  the  average  person  is  low,  as  the  abstruse 
psychologists  say,  but  there  is  one  thing  certain,  good  music  fills  the  theaters. 
"One  Night  of  Love"  has  proved  that. 

Among  other  studios,  Universal  has  caught  the  idea  and  Director  Howard  Hawks 
will  work  into  the  next  Margaret  Sullavan  production,  "The  Good  Fairy,"  a  com- 
plete symphony. 

Paramount 's  "Enter  Madame"  has  several  operatic  selections  in  it.  Of  course, 
the  initial  big  hit  with  classic  music  woven  in  was  "Be  Mine  Tonight." 

Welcome  the  movie  all-year  round  opera  season! 

It'll  be  grand — but — will  the  men  have  to  buy  top  hats  and  tails? 


WHAT  effect  will  the  developed  Technicolor  process  have  on  women's  clot  lies? 
Off  hand,  I  would  say  a  lot,  for  it  no  longer  takes  an  argument  to  prove  that 
the  screen  fashions  our  garments,  manners  and  ways  of  living. 

"La  Cucaracha"  gave  us  the  first  of  the  new  colorful  splendor.  In  "Becky 
Sharp"  and  in  "Peacock  Feather"  we  shall  see  dazzling  raiment  surpassing  even 
King  Solomon's  famed  lilies  of  the  field.  I  wish  to  go  on  record  as  making  this 
forecast :  Spring  will  witness  the  gayest  adornment  on  ladies  we  have  seen  in  many  a 
season. 


EVEN  Mickey  Mouse  is  to  have  a  new  paint  job.  Walt  Disney  has  decided  that 
the  lovable  little  rodent  is  too  anemic  and  is  suffering  in  comparison  with  the 
gorgeous  "Silly  Symphonies."  You  will  soon  be  seeing  Mickey  Mouse  with  a  pink 
nose  and  a  school  girl  complexion. 

ttf   as  Tp  itf  as  «b   as  «p  as   as   as   as   as   as   its   its   as   its  its   its  its   its  its   its  its  its  as   its  its   its  cts  its   its  its  its   its  its   to   as  co  its   as 


Clarence  Sinclair  Bull 


HERE'S  proof  that  all  opera  stars  aren't  fat  and  all  movie  songsters  aren't 
crooners.  For  Nelson  Eddy  is  tall  and  handsome,  and  a  baritone.  M-G-M 
has  lured  him  from  the  operatic  and  concert  stage.  His  small  but  successful  role  in 
"Student  Tour"  probably  will  be  followed  by  the  male  lead  in  "Naughty  Marietta" 


25 


Will  Your  Favorite 
Star  Survive  Color? 


EACHED  heads  must 
go.    No  more  platinums. 


You 
camera 


can 

! 


new 


T3 

JL_/No  more  artificial 
blondes.    No  more  heavy 
make-up. 

How  many  stars  can  survive 
these  edicts? 

Yet,  according  to  Robert 
Edmond  Jones,  these  rules  must 
govern  the  choosing  of  stars  in 
the  future. 

"Because,"  Jones  says, 
"color  has  come  to  the  screen  to  stay.    And  you  can't  fool  the 
color  camera!    It  catches  the  slightest  artificiality,  magnifying 
it,  making  it  ridiculous.    Bleached  hair  which  may  be  beautiful 
on  the  shadow  screen,  in  Technicolor  looks  like  a  straw  wig." 

Robert  Edmond  Jones,  famous  stage  designer,  designed  the 
sets  and  worked  out  the  color  composition  for  "La  Cucaracha," 
the  first  motion  picture  to  be  made  entirely  by  the  new  Techni- 
color process.  He  is  in  Hollywood  now  working  on  "Becky 
Sharp,"  an  all-color  full  length  feature  which  RKO-Radio  is 
producing. 

The  title  role  in  "  Becky  Sharp"  was,  of  course,  a  coveted  one. 
It  would  be  the  first  full-length  feature  picture  filmed  by  the  new 
process  which  photographs  all  the  colors  of  the  spectrum.  It 
would  attract  tremendous  attention  and  comment. 

However,  when  Robert  Edmond  Jones  looked  over  a  list  of 
all  the  eager  applicants  for  the  role,  his  answer  to  each  name 
was  "no."  Becky  Sharp  must  be  blonde.  But  she  had  to  be 
a  natural  blonde.  The  plum  finally  went  to  Miriam  Hopkins, 
whose  golden  hair  has  never  been  touched  by  a  bleach.  It 
photographs  beautifully,  soft  and  silky,  shining  yellow. 


fool  the  color 


£01112* 


eauty 


By  Mildred  Mastin 

Illustrated  by  Frank  Dobias 


Work  begins  on  "Becky 
Sharp,"  first  all-color 
full  length  picture. 
Miriam  Hopkins'  natural 
blonde  hair  won  her  the 
coveted  title  role.  On 
the  left,  a  scene  from 
"La  Cucaracha,"  Tech- 
nicolor short  designed 
by  Robert  Edmond  Jones 
so  successfully  that 
RKO-Radio  is  willing  to 
stake  a  fortune  on  Mr. 
Jones  and  "Becky" 


26 


"  We  all  live  in  a  world  of  color,"  says  Jones.  "  It 
is  ridiculous  to  think  that  people  do  not  want  color 
in  their  movies.  People  are  now  prejudiced  against 
color  pictures  because  they  have  seen  bad  ones,  made 
by  the  old,  imperfect  process.  When  they  are  shown 
movies  in  which  the  color  has  been  brought  to  the 
screen  truly  and  naturally,  they  won't  be  satisfied 
with  black  and  white  pictures  any  more." 

And  whether  you  agree  with  Jones  or  not,  you  are 
compelled  to  remember  back,  seven  years  ago,  when 
sound  came  to  the  screen,  and  movie-goers  resented 
the  imperfect  recordings,  the  cracked  voices.  They 
said  it  was  just  a  fad,  that  silent  pictures  would  re- 
main, that  the  talkies  would  never  be  ac- 
cepted. 

However,  sound  advanced 

swiftly,  and  the  public's 

early  prejudices 

against  it  were 

soon  swept 

away  by  the 


■^ 


A 


"^"^••*j^><j^^ 


Robert  Edmond  Jones, 
famous  stage  designer, 
is  in  Hollywood  be- 
cause he  believes  all 
movies  soon  will  be 
made  in  color 


\X 


I  \ 


rapid  improvements  in 
talkies. 

Technicolor,  on  the  other 
hand,  has  been  building  up  a 
wall  of  disfavor  for  twenty 
years.  The  first  Technicolor 
picture  was  made  in  1914, 
and  it  was  not  till  recently 
that  any  major  improvement 
in  the  process  was  made. 

Except  for  Disney's  colored 
symphonies,  "LaCucaracha" 
is  the  only  picture  released  so 
far  that  has  been  entirely 
made  by  the  new  process. 
Pictures  made  by  the  oldproc- 
ess  you  did  not  like.  They 
looked  highly  artificial,  and 
the  colors  were  not  true. 
There  were  several  reasons 
for  this.  In  the  first  place, 
the  old  color  camera  could 
not  photograph  blue.  Of  the 
primary  colors  it  "saw"  only 
yellow  and  red.  Since  blue  is 
one  of  the  three  primary  col- 
ors, it  was  impossible  to  get  a 
true  color  picture  of  any  shot 
with  the  old  Technicolor 
cameras.    Even  white  did  not 

[  PLEASE  TURN  TO  PAGE  104  ] 


27 


Margaret  Sullavan 


WITHIN  two  days 
after  she  finishes 
her  present  pic- 
ture, "The  Good 
Fairy,"  Margaret  Sullavan 
intends  to  be  married.  The 
picture  should  be  finished  be- 
fore you  read  this  and,  con- 
sequently, Margaret  should 
be  on  her  honeymoon. 

When  she  told  me  of  this  impending  matrimony,  across  a 
luncheon  table  at  Universal  studios,  I  searched  her  gray  Irish 
eyes  for  a  betraying  twinkle.  Because  Margaret  Sullavan  is 
quite  likely  to  say  anything  that  comes  into  her  mind — any- 
thing at  all— just  to  test  your  credulity.  She  had  just  told  me 
that  she  intended  some  day  to  have  fifteen  children — which  she 
did  not  mean,  of  course.  When  she  said  that,  her  eyes  had 
smiled. 

But  this  time  they  were  steady. 

She  meant  it. 

That's  all  she  said — all  she  would  say.  To  the  natural  ques- 
tions of  who  her  intended  is,  what  he  does,  where  he  lives,  or 
what  he  looks  like,  she  presented  a  very  effective  silence.  No 
one  may  ever  know  until  the  wedding  bells. 

And  when  she  does  marry,  very  possibly,  Margaret  Sullavan 
— Hollywood's  unhappiest  actress,  movie  star  against  her  will, 
and  the  girl  whom  Hollywood  has  never  understood — will  be 
able  to  slip  out  of  the  screen  picture,  and  one  of  the  most  amaz- 
ing chapters  in  Hollywood's  ever-astounding  history  will  come 
to  a  close.  And  as  I  first  said— all  this  may  already  be  over  and 
done  with.     Margaret  Sullavan  may  be  married— now!    Who 


Perhaps  marriage  may  be  the 
happy  exchange  she  seeks  for 
fame,  fortune  and  Hollywood 

By  Kirtley  Basket te 


can  accurately  predict  for 
Hollywood? 

Marriage  may  aid  Marga- 
ret in  what  it  is  very  evident 
she  is  seeking.  An  escape 
from  a  screen  career. 

Incredible  as  it  sounds,  it's, 
true.  The  twenty-three  year 
old  girl,  blessed  with  striking 
talent,  gifted  by  the  dramatic 
gods  as  few  are  gifted,  who  was  the  major  motion  picture  sen- 
sation of  last  year,  who,  in  the  short  space  of  two  pictures,  has 
been  soundly  entrenched  in  popular  adoration  along  with 
Katharine  Hepburn,  Joan  Crawford,  Norma  Shearer — yes — 
and  Greta  Garbo;  the  girl  who  stepped  from  seven  straight 
stage  "flops"  to  a  world  wide  cinema  sensation,  who  is  making 
more  money  now  than  she  ever  made  in  her  life,  who  can  look 
forward  to  rapidly  pyramiding  fame  and  mounting  wealth,  who 
stands  on  the  threshold  of  a  future  so  rose-hued  as  to  be  beyond 
the  wildest  dreams  of  an  ordinary  mortal,  wants  none  of  it. 
None  of  it! 

Neither  the  fame,  the  money  nor  that  kind  of  a  future  it 
offers— not  at  the  price  she  is  paying  for  it.  Which  is  unhappi- 
ness,  deathly  unhappiness,  mental  depression  and  nervous 
torture. 

This  sounds  strange.  It  sounds  fantastic.  It  would  be  just 
that  with  anyone  else  but  Margaret  Sullavan.  It  would  be  so 
fantastic  as  to  reek  of  a  publicity  act.  And  Margaret  has  been 
accused  of  that,  many  times,  ever  since  she  first  revealed  by 
her  singular,  individual  reactions — which  seemed  mad  caprices 
— that  the  business  of  making  pictures  tore  her  to  pieces. 


When  you  see  Margaret  Sullavan  in  "The  Good  Fairy,"  take  a  long,  lingering  look.     For  nobody  knows  at 
what  moment  this  girl  who  hates  Hollywood  will  walk  out  of  movies,  never  to  return 


28 


Wants  None  Of  It! 


But  it's  no  act — it's  an  actuality,  which  time  has 
made  more  and  more  insistent,  more  and  more  evi- 
dent. I  rather  imagine  she  herself  wondered  about  it 
for  a  while,  whether  or  not  she  was  sincere  in  her  dis- 
like of  making  pictures.  I  know,  however,  that  time 
has  convinced  her  that  being  a  motion  picture  star 
presents  a  hopeless  ordeal — that  somehow  Fate  ironi- 
cally picked  the  wrong  person  to  thrust  into  a  spot- 
lighted spot  in  which  somehow  she  cannot  bear  to 
remain. 

I  remember  talking  to  her  when  she  first  came  out 
from  "  Dinner  At  Eight "  on  Broadway  to  make  "Only 
Yesterday."  She  was  firmly  convinced  then  that  she 
was  completely  unequipped  for  the  screen.  John  M. 
Stahl,  the  director  who  from  his  seat  in  a  theater  audi- 
ence had  picked  her  for  the  part  he  had  searched  all 
over  the  world  to  fill,  had  to  plead  and  coax  her  to 
come  to  Hollywood,  to  fame,  fortune  and  future. 

SHE  didn't  want  to.  She  had  never  heard  of  John 
Stahl,  she  wasn't  interested  in  any  part  of  a  Holly- 
wood career.  She  finally  weakened,  not  from  the  de- 
sire of  becoming  a  screen  star,  not  with  the  faintest 
idea  of  ever  possibly  becoming  a  screen  star.  She 
weakened  because  she  had  played  a  series  of  unsuc- 
cessful Broadway  shows — and  here  was  a  successful, 
guaranteed  engagement. 

"I'm  a  mess  for  movies,"  she  believed  then,  after  a 
few  days  on  the  set  of  "Only  Yesterday."  "I'm  not 
even  half-way  beautiful.  I  don't  know  anything 
about  making  pictures.  As  soon  as  this  is  through, 
I'm  going  back  to  New  York."  Which  she  did;  in 
fact,  she  started  to  leave  a  time  or  two  before  the 
picture  was  finished. 

Her  interrupted  flights,  her  sincere  protests,  her 
storied  rebellions,  her  eccentric  actions  were  not  tem- 
perament. They  were  inspired  by  a  sudden  and  over- 
powering realization  that  [  please  turn  to  page  108  ] 


Margaret  Sullavan  sincerely  believes  that  she  is  not  beauti- 
ful and  that  she  cannot  act.  However,  one  can't  agree  with 
her  after  a  glance  at  the  portrait  on  the  left  and  seeing  her 
fine  portrayal  of  the  orphan  girl  in  her  latest  picture,  "The 
Good  Fairy" 

29 


y 


Robert 

Montgomery 


C\»' 


I* 


G* 


.b\e 


B& 


-po* 


ett 


Could  You  Love,  Honor 


w 


E  S 
and  sweet- 
hearts, 
please 


give   heed!      I    have 
something    very    ex- 
citing and  also  very 
personal  to  ask.  you. 
Would  you   exchange 
your  husband  or  your 
sweetheart  for  one  of  the 
famousloversofthescreen? 
Would  you,  if  you  had  the 
chance,  exchange  your  John 
for  John  Boles?    Or  your  Bill 
for  Bill  Powell?   Or  your  Bob  for 
Bob  Montgomery? 

Could  you  and  would  you  love, 
honor    and    obey — obey,    mind    you — ■ 
Clark  Gable,  Gary  Cooper,  Herbert  Mar- 
shall, Ronald  Colman,  George  Brent,  Leslie 
Howard,    Robert    Montgomery,    William 
Powell,  Franchot  Tone,  Warner  Baxter, 
John  Boles,  or  Fredric  March  if  you  had 
the  chance? 

Isn't  that  something  to  think  about? 
Can't  you  see  yourself  bustling  briskly 
about  the  home  of  some  noted  screen  star, 
supervising  the  meals,  sewing  on  buttons, 
placing  away,  in  neat  little  stacks,  piles  of 
socks  and  handkerchiefs,  or  telephoning 
the  shops  that  Mrs.  Colman  or  Mrs. 
Gable  was  speaking  and  how  about  a  nice 
tender  chicken  for  Mr.  Colman's  or  Mr. 
Gable's  dinner? 

Stop,  my  quivering  heart! 

Would  you  gladly  and  willingly'  lay 
aside  your  comfortable  existence  and  the 
comfortable  understanding  that  exists 
between  you  and  your  best  beau  for  the 
hectic  existence  as  the  wife  of  a  famous 

30 


Herbert 
Marshall 


screen  lover,  with  its  overwhelming  need  for  tactfulness 

at  all  times  and  under  all  circumstances  (no  matter  about 

your  personal  feelings)  and  its  demands  on  your  time? 

Demanding  that  you  go  places  and  do  things  when  y-ou 

don't  want  to? 

But    wouldn't    the   sound   of   an   awe-stricken   voice 

whispering,  "There  goes  Clark  Gable's  wife,"  make 

up  for  all  the  lost  comfort?    What  do  you  say,  girls? 

Could  you  really  love,  honor  and  obey  one  of  these" 

fascinating  men? 

But  wait.    Before  you  decide.    Let's  contemplate  a 
bit  more  on  the  Mrs.  Colman  idea.    On  the  screen, 
Colman  is  pretty  much  considered  the  remote  and 
unattainable  lover.     Generally,  he  has  a 
reputation  for  being  the  same  off.     But 
certain     delightful     English     women    in 
Hollywood    (sorry,    but    he    does   prefer 
them  a  wee  bit  English)  will  tell  you,  in 
strict  secrecy,  that  he  is  the  most  gay 
and  charming  companion  imaginable. 
That  he  rather  likes  the  English  idea 
of  superiority  of  the  male.      The 
Americans  like  it  too,  poor  sweet 
lambs,  but  they  don't  know  how 
to  get  it.     But  Ronnie  does, 
make  no  mistake.    In  fact,  he 
prefers  very  feminine  women 
— but  they  must  play  tennis. 
So   for  marital   bliss   with 
Ronnie  you'd  have  to  brush 
up  on  your  backhand  stroke, 
be  sure  to  speak  the  King's 
English  and  serve  scones  at 
tea — and  by  all  means,  wear 
blue — any  shade  of  blue,  but 
give  the  preference  to  navy. 
It's  his  favorite  color.     And 
cheerio,  here's  the  best  news 
yet,    unless   you're   a   giddy 
fly-by-night.     He  likes  com- 
fort and  a  glowing  fireside. 


cb 


Geot&e 


■garnet 
Baxter 


arid  Obey  These  Men? 


The  Big  Twelve,  who  rouse  more 
thrills,  perhaps,  than  all  the 
other   male   stars  in  Hollywood 

By  Arline  Merlon 


Close  your  eyes  for  a  moment,  girls,   and  dream  dreams. 

Rain  dropping  gently  on  the  roof.     Dripping  from  long,  weary 

tree  branches  outside  the  window.      Inside,  a  warm  glowing 

fire.    Across,  in  a  deep,  comfortable  chair,  Ronald 

Colman.     The  man  you  had  promised  to  love, 

honor  and  obev.     Could  you  take  it,  girls?  J°. 

.  Boles 

Or  maybe  you'd  attached  that  fireside  dream  to 

Gary  Cooper  with  his  long  legs  stretched  out  from 

the  easiest  chair.    Well,  forget  that  dream,  for 

you  couldn't  keep  Gary  in  a  chair  very  long 

He'd  have  to  tear  outdoors  for  some  plain 

and  fancy  riding  or  a  bit  of  camping  out 

or  even  rounding  up.    And  how  would 

you  be  on  a  round-up? 

On  the  screen  and  off  the  screen, 
Gary  is  about  the  same,  I'm  told. 
The  strong,  silent  type  who  loves  one 
woman  to  the  exclusion  of  all  others. 
Could  you  love,  honor  and  obey 
Gary  Cooper  for  as  long  as  you  live? 

Then  there's  the  irrepressible  Bob 
Montgomery.  Just  how  would  you 
like  to  be  Mrs.  Montgomery  while 
you're  at  it?  Sharing  always  and 
forever  in  that  little  bad  boy  grin 
and  those  bad  boy  pranks?  For  ex- 
ample, supposing  you  were  giving  a 
party  and  some  Mrs.  Prim-and- 
Proper  wanted  to  use  the  telephone, 
and  the  telephone,  heaven  help  us  all, 
suddenly  shot  forth  a  stream  of  water 


Gary 
Cooper 


in  Mrs.   Prim- 
and-Proper's 
eye  just  as 
Bob  had  i  n  - 
tendeditshould? 
What,  oh  what, 
would  you  do 
then,  Mrs. 
"Wanted-to-be" 
Montgomery? 
For  Bob  will  do 
those  things.      He 
will  have  people  sit- 
ting down  on  cream 
puffs  or  grab  up  some- 
one,   more    than    likely 
you,  and  off  you'd  go  to 
the    beach    for    a    day    of 
kewpie-dolling  and  merry-go- 
rounding. 
And  then  he'd  look  at  you  with 
that   mischievous   but   guilty   little 
smile  and — well,  here's  where  you  make 
your  choice.     Would  you  say,  "No,  I 
couldn't  take  a  lifetime  of  loving  or 
obeying  him.    I  couldn't."  Or  would 
you  say,  with  your  heart  bursting 
with  love  and  joy,  "Bob,  you  imp, 
I — I  just  love  you  so  much;  I'm  glad 
you're  mine  to  honor  and  to  keep." 
Oh  dear,  we  haven't  even  touched 
on    Herbert     Marshall    or     Fredric 
March  or  John  Boles,  and  here  we 
are   all    dewy-eyed   and   everything 
with  our    dreams   brought  so   com- 
pletely into  the  open. 
'  Smooth    and    gentle    Englishman 
that  Herbert  Marshall  is,  if  he  loved 
you,  he  would  go  through  the  bad- 
place  and  high  water  for  you.     But 
he  would  expect  the  same  in  return, 

31 


remember.  Xo  half  way  measures.  No  hesitating.  No  glanc- 
ing back.  You'd  love,  honor  and  obey  him  completely  and 
wholly  or  you  wouldn't  qualify,  that's  all.  A  bit  frightening, 
isn't  it,  and  would  you  take  the  step?  Search  deep  down  in 
your  heart  and  discover  for  yourself  whether  your  feelings  for 
this  handsome  Englishman  are  only  the  dreams  of  an  emotional 
woman  or — if  the  chance  ever  came  your  way — would  you 
plunge?  Deeply  and  forever  into  the  life  of  this  man?  Honor- 
ing and  obeying,  world  without  end? 

Then  there's  George  Brent.  Any  number  of  willing  girls 
would  enjoy  George  around  the  house,  especially  since  he  no 
longer  belongs  to  Ruth  Chatterton.  George  is  footloose  and 
fancy  free — one  of  the  few  eligibles  among  all  the  lads  we 
dream  about.  Let's  imagine — and  wish 
—  Well,  there's  no  law  against 
wishing,  is  there? 

Of   course,    right   now   you'd 
run  into  some  pretty  stiff  com- 
petition in  one  Miss  Garbo, 
for  Greta  has  been  George's 
one  enduring  romance  since 
his  divorce.    But  just  sup- 
posing,   in    some    magical 
manner,  you  managed  to 
outshine  Garbo  as  far  as 
Mr.  Brent  was  concerned 
and    George    became    the 
man  you  had  given  your 
promise  to  love  and  honor. 
The  first  thing  you'd  have  to 
do  would  be  to  make  up  your 
mind  to  give  him  lots  of  free- 
dom.  If  there  was  to  be  a  dic- 
tator in  the  house — better  let 
George  be  it!     He  objects  to 
having  his  life  managed  and  pos- 
sessed and  he  would  be  one  man 
from  whom  you  could  not  demand 
explanations.     Plenty  of  casual  in- 
difference would  win  George  over  all 
the  concentrated  attention  you  could 
shower  on  him.   So  if  you're  not  the  in- 
different type,  think  it  over  carefully. 

Being  Mrs.  Fredric  March,  however,  would 
mean  being  a  dozen  wives  all  in  one.    For  there's 
Freddie  March,  the  actor;  Freddie,  the  little  boy; 
and   just   plain    Freddie,   the  eternal   male,   who 
knows  that  the  girls  are  looking  at  him  out  of  the 
corners  of  their  eyes.  But  just  imagine  having  that 
March  profile  to  look  at  mornings  and  nights.    Im- 
agine listening  to  that  fascinating  half-break  in  the 
famous  March  voice.     Imagine  the  exciting  Freddie 
March  saying,  "Darling,  1  love  you,"  and  meaning  YOU! 

Then    there's    the    serious-minded    Warner    Baxter. 
Cautious,  constantly  looking  ahead  with  anxious  eyes  into 
the  future.     You'd  have  to  be  ready  with  plenty  of  under- 
standing and  encouragement  if  Warner  were  your  choice. 

In  return  you  could  expect  sympathy  and  tenderness,  es- 
pecially if  you  were  ill,  for  Warner  has  an  unlimited  capacity 
for  helping  those  who  need  help.  Perhaps  not  as  alluringly 
spectacular  as  some  of  the  other  screen  lovers,  yet  the  very 
handsome  Warner  Baxter  is  certainly  one  to  consider  if  you're 
in  that  "1  do"  mood. 

A  XD  while  we're  still  able  to  go  on,  let's  consider  the  problem 
■»  **of  loving,  honoring  and  even  obeying  John  Boies.  And 
fancy  anyone  not  wanting  to  love,  honor  and  obey  the  hand- 
some John.  For  not  only  is  John  every  girl's  idea  of  a  Prince 
Charming,  but  girls,  it  would  be  all  right  to  bring  on  mother 
for  a  visit  so  far  as  John  is  concerned.  No,  honest,  I  mean  it, 
John  will  even  charm  his  mother-in-law,  for  the  same  grand 
charm  he  shows  on  the  screen,  he  showers  off  screen,  on  young 
and  old  alike.  A  little  kiss  on  the  brow,  a  little  press  of  the 
hand  to  thrill  an  older  woman  into  a  stateof  complete  happiness. 

32 


Leslie 
Howard 


"You  do  look  handsome  in  that  outfit,"  I  once  heard  John's 
mother-in-law  say  to  him.  "Why,  thank  you,  darling,"  he 
answered,  as  pleased  and  delighted  as  if  some  glamorous  creat- 
ure of  the  screen  had  passed  the  compliment. 

Mrs.  John  Boles!!!!     How  does  it  sound? 

WE  now  pause  for  long,  drawn-out  sighs. 
Or  is  the  suave  Bill  Powell  your  preference?  If  it's 
poise  and  wit  and  social  sense  you  value  in  a  man,  Bill  is 
elected.  But  study  up  on  your  answers,  because  Bill  likes  the  girl 
who  knows  them.  He  is  always  gay  and  amusing — he  likes 
gay  companions.  You  would  have  to  like  dogs  or  Bill  wouldn't 
do  for  you  at  all — he's  crazy  about  'em.  And  his  favorite 
costume  (honest)  is  a  pair  of  bathing  trunks.  He  has  a 
crazy  kind  of  fantastic  humor,  and  it  requires  a  rather 
worldly  sophisticated  woman  to  really  appreciate 
him.  You  naive  little  girls  should  fall  for  some- 
body else — you  wouldn't  be  happy  with  Bill. 
And,  too,  Bill  goes  in  for  new  fangled  electric 
things.  Buttons  that  open  gates  or  fling  down 
beds  in  the  most  awful  places.  Like  the  one  in  the 
projection  room,  for  instance.  And  remember, 
Bill  likes  his  women  plenty  colorful,  gay  and 
smartly  turned  out.  Look  at  Lombard.  Look 
at  Harlow.  And  look  at  Bill.  Could  you  take 
him  forever  and  ever? 

But  Leslie  Howard — well,  in  spite  of  his  ex- 
tremely cultured  air  of  rather  tired  sophistication, 
Leslie  has  a  very  tender  and  understanding  side. 
An  eye  for  the  beautiful  ladies,  Leslie  has.     So 
unless  you  have  the  understanding  of 
ten  women,  you'd  curl  up  and  die  of 
jealousy  in  no  time.   But  if  Leslie 
is  your  ideal,  make  no  final  de- 
cision until  you  have  seen  him 
in  a  polo  outfit.    Then  you  can 
judge   the   triumph   of  mind 
over  matter. 

Now  for  you  girls  who  like 
to  feel  the  latent  caveman  in 
your  ideal  lover — Clark 
Gable  is  made  to  order.  He 
is  the  perfect  Male  Trium- 
phant, whose  word  would  be 
law,  and  who  would  give  the 
impression  of  plenty  of  force 
available — if  necessary.  Some 
of  us  enjoy  thinking  that  he 
could  even  be  cold — that  he 
could  leave  without  a  word  or 
a  backward  look,  if  he  were 
displeased.  He  is  the  dominat- 
ing type,  whose  word  would  be 
law.  But  the  Right  Woman  always 
knows  she  could  appeal  to  the  little- 
boy  side  of  his  nature. 
For  instance,  if  Clark  grew  too  domi- 
nant for  any  good,  you  could  run  right 
out  and  buy  him  a  new  gun.  Not  to  shoot 
you  with,  my  dear,  but  to  distract  his  atten- 
tion. Clark,  you  know,  is  the  big  outdoor  type  and  even  if 
you  were  left  alone  by  the  telephone  for  weeks  on  end  while 
Clark  went  gunning  for  wild  animals,  could  you  or  would  you 
give  all  your  love  and  life  to  honor  and  obey  him? 

You  could  be  sure  of  one  thing  in  Franchot  Tone.  And  that's 
faithfulness.  But  just  supposing  you  could  pry  Franchot 
away  from  Joan  Crawford — and  I'd  like  to  see  the  team  of 
elephants  that  could  do  it — would  Franchot  be  that  dream 
Prince  in  your  life?  Have  you  ever  wondered  just  what  ro- 
mance, love  and  marriage  with  Franchot  would  be  like? 

For  one  thing,  you  dreamers,  you'd  have  to  know  a  lot  about 
books,  art  and  culture.  And  you'd  have  to  be  careful  about 
putting  forth  that  old  positive  personality  of  yours.  Franchot 
is  a  gentle  man,  who  wants  to         [  please  turn  to  page  121  ] 


Franchot 
Tone 


At  Last  The  Films 
Round  Up  Joe 


FOR  eight  years,  Joe  Morrison  did  some  planning,  and  it 
must  have  been  good,  because  it  landed  him  right  where 
he  wanted  to  be — in  the  movies.  And,  Joe  says,  he's 
doing  right  well,  thank  you. 

In  the  course  of  that  eight  years,  Joe  decided  he  might  as 
well  do  something  about  his  voice.  It's  been  described  by  rapt 
admirers  as  "golden  honey."  So,  he  tried  it  out  with  "The 
Last  Round-Up."  You  could  cut  the  silence — but  it  wasn't  the 
silence  of  close  attention,  it  was  that  cold  silence  of  disapproval. 
Well,  Joe  put  that  song  right  back  on  the  shelf — until  three 
months  later.  Stuck  for  a  song,  he  dragged  it  out  and  dusted 
it  off.  He  was  soloist  with  George  Olsen's  orchestra  at  the  time. 
Anyhow,  Joe  sang  the  plaintive  plains  song.  The  dancers 
stopped  in  their  gliding  and  listened.  Joe  finished  and  they 
mobbed  him — demanding  more.  They  made  him  sing  it  until 
he  was  hoarse.  Overnight,  he  became  a  sensation.  Not  so  long 
after,  he  was  in  New  York  and  Adolph  Zukor  heard  him. 

P.  S.    Joe  got  a  Paramount  contract. 

But,  that  sounds  easy.  Far  from  that.  Previously,  Joe  got 
a  job  as  tenor  in  a  vaudeville  quartet,  and  headed  toward 
Hollywood.  There  he  spent  a  desperate  year  trying  to  crash 
the  golden  gates.  But  no  go.  The  studio  scouts  and  executives 
didn't  even  give  him  a  tumble  for  his  work  in  "Nine  O'Clock 
Revue,"  and  he  was  in  that  in  Hollywood  for  eight  months! 

But,  that's  all  water  under  the  bridge.  Joe  is  now  right  where 
he  wants  to  be,  and  he's  coming  along — fast.  You  last  saw  him 
in  "The  Old-Fashioned  Way,"  and  now,  "Me  Without  You." 
And  he  has  at  least  two  more  pictures  ahead  of  him. 

He's  only  twenty-seven,  and  not  married — not  even  "in 
danger,"  he  says.  But,  there  is  one  thing  certain,  should  he 
marry,  the  little  girl  will  just  have  to  live  in  Hollywood.  Joe  is 
not  only  sold  on  the  movies,  but  on  the  town,  too. 


Tha-a-ank  You-hoo, 
Maxine  Doyle 


MAXIXE  DOYLE  is  one  little  girl  who  went  back 
home  and  made  out  better.  That  sounds  funny,  but 
Maxine  was  doing  right  nicely  with  a  job  as  Master 
of  Ceremonies  in  a  Washington,  D.  C,  theater.  She 
decided  she'd  rattle  out  to  Hollywood  and  give  it  a  look-over. 
She  bought  herself  an  old  car  and  went.  Now  California  is 
Maxine's  home  grounds,  so  she  knew  just  where  she  was  going. 
Also,  Hollywood  itself  was  no  novelty  to  her,  in  that  many  of 
the  stars  had  been  under  her  eye  in  their  Washington  personal 
appearances. 

So,  you  have  Miss  Doyle  in  Hollywood,  and  Hollywood  took 
one  look  at  the  five-foot-two,  eyes-of-blue  Maxine,  and  then 
and  there  the  Master  of  Ceremonies  business  was  history  for 
Maxine.  She  was  a  novelty,  and  Warner  Brothers  was  not 
passing  up  such  a  delightful  one. 

The  net  result  was  a  contract  and  a  part  in  a  stage  produc- 
tion of  "Take  a  Chance,"  with  Olsen  and  Johnson,  two  delight- 
ful people  to  take  a  chance  with.  Maxine  was  a  hit  from  the 
opening  curtain.  So  much  so,  that  M-G-M  promptly  borrowed 
her  for  "  Student  Tour."  Then  she  hopped  on  her  little  bicycle 
and  pedalled  around  with  Joe  E.  Brown  in  "6  Day  Bike 
Rider."    Soon  you'll  see  her  in  "  Babbitt." 

"How'd  you  do  it?  "  she  was  asked. 

"Why,  I  didn't  do  a  thing!"  she  said.  "I  just  smiled  and 
took  any  old  thing  they  gave  me.  I  never  asked  nor  demanded, 
and  I  think  my  meekness  just  broke  them  down." 

And  now,  here's  a  deep,  dark  secret  on  how  Maxine  started 
the  road  up.  It  was  when  she  was  Master  of  Ceremonies.  The 
first  night,  when  she  said  "  Thank  you"  to  the  audience,  she  was 
so  scared,  her  voice  broke  and  the  "you"  went  way  up  to  the 
roof.  It  was  a  howl!  And  she  had  to  do  it  all  the  time  there- 
after.   The  good  people  just  ate  it  up. 

33 


Making  A  Mans 


"  ~]k        JTAYBE,"  said  Director  Henry  Hathaway,  with  just 

|\    /I   a  tinge  of  irony  in  his  voice,  "we  had  better  call  this 

J[_  y    1  picture  'Wives  of  a  Bengal  Lancer'!" 

And  tearing  into  shreds  a  sign  reading,  "No 
Women  Allowed,"  which  he  had  just  jerked  down  from  a  tree 
trunk,  he  resigned  himself  to  the  gloom  of  his  thoughts. 

You  see,  the  reason  for  Director  Hathaway's  inward  struggle 
was  the  fact  that  the  dust  from  Gary  Cooper's  retreating  car 
was  still  sifting  up  his  nostrils.    And  the  reason  that   Gary 
Cooper's  car  was  bedusting   the  serene 
shores  of  Malibu  Lake  was  that  Gary  was 
deserting  camp  in  a  hurry  to  meet  his 
wife,  Sandra  Shaw  Cooper — 

And  all  this  was  very  much  against  the 
rules. 

The  setting  for  this  bit  of  dramatics  is 
the  greatest  excursion  of  modern  movie 
times — Paramount's  rugged  (and  partly 
ragged)  expedition  of  some  four  hundred 
masculine  souls  into  the  wilds  to  make 
"Lives  of  a  Bengal  Lancer."  You  prob- 
ably read  the  book  by  Francis  Yeats- 
Brown,  and  if  you  did  you'll  know  that 
it's  pretty  exclusively  a  male  affair.  No 
women.  Well — there  is  to  be  one  in  the 
movie — Kathleen  Burke — but  she'll  step 
in  and  out  inside  of  two  hundred  feet  of 
film. 

Incidentally,  this  is  not  the  only  picture 
planned  or  in  the  making,  in  which  the 
males  are  an  overwhelming  majority.  On 
the  M-G-M  list,  there's  "  Mutiny  on  the 
Bounty,"  also  with  a  lone  woman.  Fox  is 
going  in  strong  for  masculinity.  "Hell  in 
the  Heavens"  is  a  one-woman  film,  she 
being  Conchita  Montenegro ; "  East  River" 
has  just  two,  Marjorie  Rambeau  and  Grace 
Bradley,  and  in  the  same  studio's  "  Lottery 
Lover,"  three-fourths  of  the  cast  are  men. 
It's  something  for  the  ladies  of  Hollywood 
to  worry  about! 

Hathaway  was  to  have  with  him  four 
hundred  hairy-chested  gentlemen,  includ- 
ing some  hundred  and  fifty  Hindu  olive 


pickers  from  the  Napa  Valley,  a  troop  of  a  hundred  mustang- 
bitten  cowboys  (made  up  as  lancers),  and  such  two-fisted  fel- 
lows as  Gary  Cooper,  Franchot  Tone,  Sir  Guy  Standing,  C. 
Aubrey  Smith,  Monte  Blue,  Richard  Cromwell,  Douglas  Dum- 
brille  and  Colin  Tapley.  There  also  were  to  be  a  host  of  dare- 
devil war  veterans  from  all  over  the  world,  including  Russian 
generals,  Cossack  cavalry  commanders,  Australian  light-horse 
officers,  and  even  a  former  member  of  Pershing's  staff.  So,  with 
these   stiff-whiskered   gentlemen   filling   the   woods,    Director 


■*****WNifc; 


Sir  Guy  Standing,  Gary  Cooper,  and  Franchot  Tone  were  all  lured  away 

from  location  by  undaunted  ladies.     Director  Hathaway  posted  a  sign, 

"No  Women  Allowed,"  but  Gary's  wife  crashed  into  the  camp 

3k 


Hathaway  decided  that  members  of  the 
weaker  sex  would  seem  a  bit  out  of  place 
on  this  particular  expedition.  Oh,  there'd 
be  a  production  staff  member  or  two,  but 
those  business-like  girls  wouldn't  interfere 
with  plans.  So  he  determined  to  make  the 
whole  affair  a  he-man's  holiday.  Hence  the 
sign— 

"No  Women  Allowed." 

It  was  the  very  next  day  after  the  mon- 
astic edict  that  up  to  the  forbidden  spot 


Picture 


The  ''Bengal  Lancers"  direc- 
tor hid  his  masculine  cast 
in  the  mountain  wilderness, 
but  women  still  pursued  them 

By  Kirtley  Baskette 


Four  hundred  hardy  men  invaded  the  wilderness  around  Mount  Whitney,  to 
make  the  exciting  Khyber  Pass  sequences  of  "Lives  of  a  Bengal  Lancer"  for  Para- 
mount.   Among  them  were  many  cowboys,  war  veterans,  and  Hindus 


boiled  Sandra  Shaw  Cooper  in  her  roadster  and  registered  at 
the  nearby  Malibu  lodge.  Immediately  she  dispatched  a  mes- 
senger to  the  forbidden  precincts  with  a  note.  And  whatever 
she  wrote,  her  words  had  more  authority  for  Gary  than  military 
orders. 

Gary  said  he  thought  he  should  go  over  to  the  lodge,  but 
Director  Hathaway  said  he  wanted  the  entire  company  to  stay 


Watch  out  for  your  head !  Monte  Blue, 
made  up  as  Hamzulla  Khan,  means 
business!  Director  Hathaway  should 
have  assigned  Monte  to  the  job  of 
scaring  the  girls  away  with  his  sword 


in  camp.  So  Gary  discovered  a  rattle- 
snake in  his  tent,  and  found  it  entirely 
necessary  to  move  at  once  to  the  lodge, 
where  his  health  would  be  beyond  danger. 
Hence  Mr.  Hathaway's  full  measure  of 
chagrin. 

Of  course,  it  had  been  in  the  course  of 
evolution  for  several  days — this  chagrin. 
And  not  all  because  of  Gary.  Why,  the 
very  day  before,  a  beguiling  honk  had 
penetrated  the  sanctity  of  the  camp,  and 
that  perennial  charmer,  Sir  Guy  Standing, 
laden  with  flies,  and  rods  and  reels,  had 
bundled  hurriedly  but  withal  furtively 
out  of  his  tent.  Down  to  the  road  he  went , 
and  was  seen  to  greet  a  mysterious  bru- 
nette. She  was  in  a  roadster,  and  away 
they  whirled,  to  the  boat-landing.  While 
the  perturbed  Mr.  Hathaway  spied  upon 
them,  Sir  Guy  fished  and  the  mysterious 
lady  of  the  lake  rowed  the  boat  or  netted 
the  trout  he  caught. 

Too,  a  series  of  long  distance  messages 
from  Joan  Crawford,  calling  Franchot 
Tone  away  from  his  womanless  surround- 
ings at  odd  times  during  the  day,  had 
further  proved  the  resolve  of  the  feminine 
invasion  which  threatened  the  "Lancers." 
Women,  women,  women!  How  could 
you  ever  get  away  from  them  and  make 
a  man's  picture? 

"Never  mind,"  Hathaway  now  mut- 
tered into  his  beard,  as  Gary's  big  motor 
rumbled  off  Sandra-wards  in  the  distance, 
"wait'll  I  get  'em  at  Lone  Pine." 

Because  the  whole  "Lancer"  company, 
after  completing  the  two  weeks'  term  at 
Malibu  Lake,  only  forty-five  miles  from 
Hollywood,  and  therefore  within  convenient  feminine  seige 
distance,  was  due  to  pack  into  the  bare  and  rocky  slopes  of 
Mount  Whitney — three  hundred  miles  from  anywhere,  to  film 
the  Khyber  Pass  excitement  of  the  picture. 

Getting  into  the  location  at  Lone  Pine,  Mr.  Hathaway 
reflected  with  satisfaction,  would  be  something  of  a  feat  for  a 
lady  who  had  no  business  with       [  PLEASE  TURN  TO  pale  88  ] 

35 


Romance  With 


Many  times  she  seemed 
way  out  of  reach,  but 
persistent  Rafe  Forbes 
at  last  touched  heaven 

By  Jerry  Lane 


RECIPE  for  romance:    A  tennis  court  inspiration- 
ally  located  between  a  rose-covered  tea  house  and 
a  dahlia  garden. 
A  balmy  afternoon. 
One  very  handsome,  very  blond  young  man. 
One  slip  of  a  girl  with  hair  like  buffed  ebony,  an  ador- 
ably piquant  face — and  the  meanest  serve  in  Hollywood. 


"I  didn't  know  an  Angel  could  play  a  game  like  you 
do!"  Ralph  Forbes  lunged  for  a  well  placed  low  one, 
returned  it,  missed  her  answering  shot. 

"Forty,  love,"  sang  out  someone  from  the  sidelines. 

"Love?"  echoed  Mr.  Forbes,  reaching  for  a  high  ball. 

"Love!"  chanted  Cupid,  swinging  on  the  net. 


Actually,  when  Heather  Angel  was  married  in  Yuma,  she 

had  on  a  borrowed  frock.    But  she  wears  this  gorgeous 

creation  in  "Romance  in  the  Rain" 

36 


They'd  met  a  bare  half  hour  before.  H.  M.  Howard, 
writer  extraordinary  and  "Tottie"  to  his  friends,  had 
done  the  trick.  And  Heather  Angel  had  smiled,  a  very 
secret  little  smile,  as  Rafe  lingered  over  her  hand.  She 
couldn't  very  well  explain  what  she  was  thinking.  But 
in  her  mind's  eye  she  was  back  in  India,  escaping  from  the 
broiling  sun  into  a  small,  rattan-roofed  theater,  seeing  a 
picture  years  old — "Beau  Geste." 

"That  young  one,  that  Forbes,  he  seems  so  familiar," 
she  remarked  to  her  friend,  a  member  of  the  same 
repertory  company  in  which  Heather  was  touring  the 
Orient.  "  Do  you  suppose  I  could  have  met  him  any- 
where in  London?    He's  obviously  from  England,  too." 

And  then  in  Colombo,  another  cinema  with  Forbes  a 
Scotch  nobleman  this  time.  In  Sarat,  he  was  a  dashing 
army  officer  up  there  on  the  screen.  In  Calcutta  they 
saw  him  as  a  spy.  In  Hong-Kong  he  was  Betty  Comp- 
son's  lover. 

"Is  there  any  other  actor  in  America?"  Heather  de- 
manded. "Every  time  we  go  to  a  motion  picture,  there 
he  is!  .  .  .  And  I  still  can't  place  where  I  met  him." 

BUT  they'd  never  met.  Not  until  that  afternoon  on 
Howard's  tennis  court.  A  haunting  memory  of  some- 
thing never  lived,  half  remembered  scenes  from  an  un- 
known past.    Where  do  they  come  from? 

This,  however,  was  real  enough!  Rafe  Forbes  was 
asking  for  her  telephone  number  in  the  customary 
fashion  of  young  men  the  world  over.  There  was  but  one 
slight  hitch.  He  wrote  it  down  wrong!  The  very  next 
morning  he  dialed  the  number.  A  cool,  impersonal  voice 
slid  over  the  wires  to  him,  "  Sloot  and  Sloot,  plumbers. 
No  sir,  there's  no  angel  here.    This  is  a  plumbing  shop." 


It  all  happened  so 
suddenly,  when  they 
were  married,  that 
Rafe  didn't  have 
time  to  make  an  of- 
ficial proposal! 


"Hang!"  said 
Mr.  Forbes.  '  No  use 
trying  to  wheedle  it  out 
of  the  operator.     The 
private  numbers  of  pic- 
ture people  are  guarded  more  zeal- 
ously than  the  crown  jewels.     He  tried 
1  toward.    Mr.  Howard,  his  secretary  informed 
Rafe,  had  been  called  out  of  town  unexpectedly. 
Xot  fifteen  minutes  later,  Howard's  secretary  was  informing  a 
Miss  Angel  that  yes,  she  thought  she  could  get  Mr.  Forbes' 
telephone  number.    Just  a  minute  please.    It's  .  .  .  here  it  is, 
Oxford  3216. 


But  —  here  it 
wasn't!   Heather 
had  no  way  of  knowing 
that  the  secretary  had  in- 
advertently read  "6"  instead 
"    of  "  7."    She  was  sure  of  just  one 
thing.      Never   would   she   ring    Ralph 
Forbes  again.    Not  as  long  as  she  lived.    That 
furious  woman  who  had  answered  the  call.     Brrr! 
It  left  her  petrified.     He  wouldn't  be  invited  to  this  cocktail 
party — nor  to  any  other  she  gave! 

And  that's  the  way  matters  stood  for  four  months. 

[  PLEASE  TURN  TO  PACK   102  ] 


Mr.  Broadway  Gambles 
Against  Hollywood 


S 


URE  I'm   worried 

about  this   movie. 

I've  been  worried  for 

sixty-three    years. 
You  say  I  don't  look  sixty- 
three?    What?    Forty-five? 
Lady,  if  I  were  forty-five,  I'd 
jump   up  and   swing   from 
that  chandelier.     And  then 
I  wouldn't  have  to  earn  a 
living  by  playing  in  a  movie. 
And  then,  maybe,  I  wouldn't  be  worried!" 
It  was  George  M.  Cohan  speaking.    The 
movie  he  was  worried  about  was  "Gam- 
bling."    He  had  written  the  play  himself 
some  years  ago.     He  had  played  in  it  on 
Broadway,  and  it  is  numbered  among  his 
successes.     And  now,  out  at  the  Astoria, 
Long  Island  studio,  he  was  making  it  into 
a  motion  picture. 

Most  people  thought  that  Cohan  would 
never  try  to  make  another  movie.  His 
Hollywood  talkie  experience,  just  two  years 
ago,  was  brief  and  unhappy.     It  started 


George  M.  Cohan  has  his  chips 
on  the  table  —  and  one  on  his 
shoulder.  He'll  make  movies  in 
New  York,  but  out  West 


no 


By   Anne    Castle 


when  he  was  lured  to  the 
Coast  to  appear  in  "The 
Phantom  President."  And 
it  ended  the  minute  the  pic- 
ture was  finished. 

"  I   wouldn't   have   gone 
back  into   pictures  —  in 
Hollywood,"     Cohan    says 
bitterly.  "I  didn't  like  the 
folks  out  there;  they  didn't 
like  me.     But  making  this 
movie  here  in  the  East,  that's  differ- 
ent.   For  one  thing,  it's  my  own  play; 
I  wrote  it.     'The  Phantom  President' 
was  written  by  twelve  hundred  other 
people.    Oh,  it  must  have  been  at  least 
twelve  hundred,  for  there  was  a  new 
author  brought  in  every  minute! 

"Another  thing.  I'm  making  this 
picture  for  a  boy  I've  known  all  my 
life — Harold  Franklin.  That  makes  a 
difference." 

But  if  you  know  Cohan,  you  realize 
that  his  dislike  for  Hollywood  is  based 
on  something  far  more  human   and 
fundamental  than  the  fact  that  on  the 
Coast  he  didn't  know  the  pro- 
ducer, and  that  the  script 
had  too  many  authors. 
And  even  Hollywood 
must   admit   that 
George  M.  Cohan 
was    treated 
strangely. 

In  the  first  place, 
Cohan  went  to 
Hollywood  with 
the  understanding 
that  he  was  to  help 
write  the  script. 
But  among  the 
alleged  twelve 
hundred  authors, 
Cohan  was  not 
numbered.  It  was 
almost  as  if  Holly- 
wood forgot ,  or 
didn't  .know,  that 
George  M.  Cohan 

[ PLEASE    TURN    TO 
PAGE   114  1 


Cohan  didn't  like 
Hollywood  and  says 
Hollywood  did  not 
like  him.  But  if 
"Gambling"  proves 
a  success,  he  may 
make  more  pictures 
in  the  East 


38 


Longworth 


MEET  the  general !  Ruby  Keeler  looks  so  fetching  in  that  uniform,  we'd  even 
smile  if  she  ordered  a  court  martial !  Wearing  gold  braid  and  epaulets,  Ruby 
is  commanding  attention  now  in  Warner  Brothers'  musical,  "Flirtation  Walk." 
Yes,  Dick  Powell  wears  a  uniform,  too.    But  it's  Ruby  Keeler  who  gives  the  orders 


'in-''   1                             ?E$P. 

H 

'tB3 

HIS 

*   1 1  H^HPiV 

nBBBBBBVJJHH 


Hurrell 


RALPH  BELLAMY  in  a  striking  studio  pose.  Ralph  is  soon  to  be  seen  in 
Fox's  "Helldorado."  He  recently  returned,  you  know,  from  a  trip  to  Eng' 
land.  And,  lo  and  behold,  he  brought  back  seven  lamp-posts.  But,  'sail  right. 
They  were  relics  from  the  historic  Waterloo  Bridge,  which  has  been  torn  down 


Otto  Dyac 


T)EGGY  FEARS,  who  acted  and  produced  plays  on  Broadway,  shows  one  of  the 
A  gowns  and  a  gorgeous  hat  she  wears  in  Fox's  "Lottery  Lover."  This  is  her 
debut  as  a  screen  player,  and,  under  the  terms  of  her  contract,  we  may  hear  from 
Miss  Fears  as  a  writer  and  director.    And  a  striking  looking  woman  she  is,  too 


BEHIND  this  innocent  exterior  is  dynamite!  "Spanky"  McFarland  doesn't 
keep  all  his  devilment  for  his  picture  scenes.  In  the  filming  of  his  latest,  RKO' 
Radio's  "Kentucky  Kernels,"  he  had  Wheeler  and  Woolsey  in  a  constant  state  of 
dithers — chairs  whisked  from  under  them,  trip  lines  everywhere.  Nice  "Spanky" ! 


Kitty  Crashes 


Fa 


me 


Mr.  Opportunity 
had  to  rap  hard 
and  loud  before 
Miss  Carlisle 
listened  to  his 
Hollywood  offer 

By  Julius  Irwin 


NO,  I  won't  sign  the 
I've  seen  my  test." 
"But    why?"    pi 


e  contract,  until 


protested    the    per- 
plexed Paramount  executive  engaged 
in  signing  up  practically  unknown  Kitty  Carlisle 
for  a  movie  career.    "It's  our  gamble — not  yours. " 

"I  might  be  terrible,  and  I'd  feel  like  such  a 
fool!"  was  the  explanation  that  didn't  explain  a 
thing. 

It's  just  such  unorthodox,  upside  down  things 
about  this  amazing  and  amusing  Carlisle  person 
of  New  Orleans,  Paris,  Rome,  London,  New  York 
and  points  cosmopolitan  which  have  just  about 
convinced  Hollywood  that  Kitty  is  one  of  the  most 
interesting,  completely  captivating  and  unusually 
destined  things  that  has  happened  to  it  for  a  long, 
long  time. 

For  one  thing,  it's  hardly  cricket  for  a  girl  to 
be  in  Hollywood  only  six  months  and,  with  no 
particular  stage  prestige,  to  leap  right  up  to 
co-stardom  with  that  secret  passion  of  the 
nation's  femininity,   Bing   Crosby.     Kitty 
shares  the  headlines  in  the  picture  she  has 
just  finished,  "Here  Is  My  Heart." 

Then  again,  for  a  girl  who  has  to  make 
something  of  herself  to  click  profession- 
ally is  admirable,  but  understandable; 
powever,  for  a  girl  like  Kitty,  who 
was  cradled  on  a  velvet  cushion, 
tutored   by   royalty,   polished 
and  finished  abroad,  introduced 
nto  Continental  society,  and 
tossed  about  in  the  soft  lap  of 
uxury  to  suddenly  say,  "Oh, 
•ats,  I'm  tired  of  being  worth- 
ess.    I'll  just  have  myself 
i  career—"  and  get  it- 
veil,  it's  like  the  Holly- 
vood  climate — unusual. 

Of  course,  to  most  of 
is  the  career  of  Kitty, 
vhose  name  rhymes 
luite  nicely  with 
'ditty,"  starts  with  a 


tune  which  perhaps  you  have  heard  once  or 

twice,  called  "Love  in  Bloom"  (and  if  you 

haven't   heard  it,  you'd  better  drag  out 

your   ear    trumpet    because   you're   going 

stone  deaf  as  sure  as  the  world — it  fills  the 

air  these  days).     Which  is  to  say,   that 

Kitty  Carlisle  first  made  the  general  public 

sit  erect  and  focus  attention  when  she  did  the  hitherto  unheard 

of;  namely,  splitting  singing  honors  with  Bing  Crosby  in  "She 

Loves  Me  Not." 

Naturally  that  wasn't  the  first  time  she  had  ever 
tried  out  her  voice,  nor  the  first  time  she  had  put 
on  greasepaint.    In  fact,  the  strange  business 
noted  above  of  an  unknown  girl's  refusing  to 
autograph   a   movie   contract   which   she 
really  did  want  very  badly,  took  place  in 
the  artistic  setting  of  Westport,  Con- 
necticut, where  Kitty,  having  success- 
fully  completed   her   first   professional 
engagement,  a  tour  with  a  condensed 
company  of  "Rio  Rita,"  was  busily  en- 
gaged in  trying  out  the  musical  "  Cham- 
pagne Sec,"  an  American  adaptation  of 
Johann  Strauss'  operetta  "Die  Fleder- 
maus"  (the  flying  mouse;  i.e.,  bat).    Al- 
though just  what  champagne  has  to  do 
with  bats  and  flying  mice  is  a  little 
vague.    Maybe  you  see  them  after  you 
drink  it.    Kitty  wasn't  sure.    Anyway, 
she  played  the  part  of  "Prince  Orlof- 
sky"  and  they  say  she  was  really 
something  in  tights. 
Possibly    the    Paramount    talent 
scout  was  attracted  clear  down 
to  Westport  by  the  tights  or 
the  tasty,  tangy  title  of  the 
show,  but  finding  Kitty  twice 

[  PLEASE  TURN  TO  PAGE  118] 


Kitty  soared  to  the  top 
and  is  comfortably  set- 
tled there  for  a  nice 
long  stay.     In  her 
third  movie  she's 
co-starred  with 
Bing    Crosby 


43 


Fun  Like  Mad! 


DEAR  JOAN: 
H'ar  yuh?  I'm  very  chipper 
myself.  Thought  I'd  be  head- 
ing for  the  Old  Maid's  home, 
didn't  I,  in  my  last  letter?  Well,  t'aint 
so.  Louise  Fazenda's  multiple  birth- 
day soiree,  the  opening  of  Reinhardt's 
"  Midsummer  Night's  Dream,"  Nelson 
Eddy's  cocktail  gathering,  Colonel  Van 
Dyke's  party — to  say  nothing  of  the 
elegant  wedding  in  the  DeMille  family, 
a  coupla  twirls  at  the  gay  Trocadero, 

and  several  wildly  expensive  luncheons  —  have  left  me  feeling 
anything  but  old-maidish.  In  fact,  I'm  utterly  limp  from  so 
much  festivity.     Deah,  deah,  such  popularity! 

I  know  that  nothing  but  minute  details  will  satisfy  your  avid 
curiosity,  Joanie,  so  I  shall  relate  everything  that  I've  saw  and 
did  all  this  past  month.    I  won't  leave  out  a  single  word. 

Let's  start  on  a  nice,  dignified  note.  Shall  we?  The  DeMille 
wedding.  The  great  C.  B. 
was  his  son's  best  man, 
and  I  might  mention  that 
Noah  Beery,  Jr.,  Gwynne 
Pickford  (Mary's  niece) 
and  Katherine  DeMille 
were  among  the  entourage. 
It  was  a  beautiful  cere- 
mony,  with  exquisite  music 
that  just  thrilled  me  to  the 
marrow.  Weddings  al- 
ways make  me  sentimen- 
tal, anyway,  and  here  I 
was  longing  for  a  nice, 
handsome  fellow  to  lead 
me  to  the  altar.  How- 
ever! 

Well,  the  bridesmaids 
looked  heavenly  in  light 
bluegownswithtrains,long 
sleeves  and  large  swash- 
buckling hats  to  match, 
and  leis  of  flowers  around 
their  necks.  They  carried 
small  blue  velvet  Bibles. 
Then  came  the  bride.  Ah, 
the  bride !  She  was  Louise 
Denker,  a  society  bud,  and 
the  niece  of  that  big  bank- 
ing mogul,  A.  P.  Giannini. 
Everyone  in  that  beau- 
tifully dressed  congrega- 
tion craned  necks  and 
then  gasped.  Louise,  like 
her  bridesmaids,  was  com- 
pletely in  blue.  Her  fif- 
teen-foot tulle  train  was  a 
mass  of  blue  foam.  There 
was  a  rosary  of  amethysts 
twined  in  her  fingers,  and 
she  carried  a  prayer  book, 
and  a  long,  silver-twined 
sheath  of  powder-blue 
water-lilies.  I've  never 
seen  so  exquisite  a  bride. 
In  fact,  her  beauty,  and 
the  inspiring  ceremony, 


JX/TORE  news  from  Mitzi  Cum- 
*■  fJ-  mings,  who  circulates  more  widely 
in  Hollywood  than  an  issue  of  United 
States  currency.  From  her  letters  to 
Joan,  published  every  month  in  Photo- 
play, you  may  learn  what  the  exciting 
people  of  the  movie  colony  are  saying  and 
doing.  Mitzi  loves  the  life  and  lives  it 
with  grand,  glowing  spirit. 


We'll  bet  Jean  Harlow  and  Mitzi  Cummings  were  swap- 
ping secrets  when  the  cameraman's  flash  interrupted 
them.    And  judging  by  those  smiles,  they  both  must  have 
heard  cheerful  little  earfuls 


took  all  my  attention.    I  couldn't  even 
tell  you  who  was  there. 

NOW  from  the  sublime  to  the  other 
thing. 
We  took  two  hours  for  lunch  at  the 
Vendome — the    lovely    Mrs.    Robert 
Florey,  Josephine  Hutchinson,  that  de- 
lightful and  capable  young  actress  who 
is  going  to  appear  in  the  screen  version 
of  "Midsummer  Night's  Dream,"  and 
Doris  Warner  LeRoy,  and  me.  And  we 
had  a  giggle  when  Doris  suddenly  pointed  to  our  hats.    All  four 
of  us  had  gone  Tyrolean  with  mad  feathers.       Style  slaves, 
that's  all  we  are. 

Doris  was  awfully  excited  because  for  the  first  time  she  was 
going  out  to  visit  husband  Mervyn  LeRoy's  set  of  "Sweet 
Adeline."  Poor  gal!  For  weeks  now  she's  been  staying  home 
every  night  and  going  to  bed  early.    When  that  director-spouse 

of  hers  is  making  a  picture 
that'sthelaw.she'slearned. 
But  she's  quite  content  to 
stay  in  her  mansion  and 
read  out  of  her  first- 
edition  library,  or  look  at 
a  movie  in  her  private 
projection  room.  With  all 
that  luxury,  though,  she's 
simple  and  sweet  and  fine. 

I  KNOW  you're  going  to 
think  I'm  always  ravin' 
about  Woody  Van  Dyke, 
the  director.  But  I  can't 
help  it,  he's  such  a  peach. 
Last  letter,  if  you  remem- 
ber, I  told  you  how  he 
called  and  invited  me  to  a 
party  and  simply  sky- 
rocketed me  out  of  the 
doldrums.  Elegant  party. 
Always  elegant  parties. 
Billie  Burke  was  there, 
and  Madge  Evans,  Minna 
Gombell,  Ted  Healy,  Bob 
Woolsey  and  Anna  May 
Wong. 

The  Chinese  lady  was 
late  because  she  was  giv- ] 
ing  an  Oriental  dinner  and 
had  to  wait  until  she  was 
free.  She  is  so  charming 
and  cultured  that  I'm  al- 
ways on  pins  and  needles 
waiting  for  her.  Someone 
said  regretfully  that  she 
had  just  missed  the 
Chinese  consul  —  he 
couldn't  wait  any  longer 
for  her.  To  which  our 
Miss  Wong  murmured, 
"Ah,  these  Chinese,  they 
always  retire  early." 

My  friend  Woolsey  and 
I  had  quite  a  seance,  we 
did.     And   I   learned  alJ 


about  his  life.  1 1  e  was  a  jockey  at 
the  age  of  fourteen.  But  he 
thought  he  oughta  use  his  face  to 
make  people — not  horses— laugh, 
'so  he  became  a  comedian!  Did 
you  ever  hear  of  such  a  man! 

That  Healy  kills  me,  honest. 
•He's  such  a  scream.  We  were  sit- 
ting outside  by  Van's  swimming 
pool,  where  there  is  a  barbecue 
place  and  a  big  log  fire  (which  was 
burning,  believe  me!).  It  was  just 
delightful,  sitting  there  in  the  star- 
light, listening  to  Ted's  amusing 
stories.  Just  a  little  group  of  us — 
Muriel  Evans,  Irene  Hervey,  Nick 
Stuart  and  a  couple  of  others. 

"Once,"  Healy  tells  us,  "I  was 
a  master  of  ceremonies  at  a  bene- 
fit where  one  of  the  guys  to  appear 
bn  the  program  is  named  Tito 
Schipa.  I  never  heard  of  him,  so 
•1  stick  him  on  first,  which  is  the 
worst  spot.  But  when  I  go  out 
;ind  announce  him,  the  house 
tomes  down.  I  can't  imagine  what 
for.  Well,  the  little  fellow  goes 
put  and  starts  to  sing,  and  gosh, 
le's  plenty  good.  I  send  him  back 
■:hree  times  before  I  learn  that  he's 
pne  of  the  world's  finest  opera 
fingers.  I  guess  he  must  have 
'iked  me,  because  that  evening  he 
comes  to  my  dressing-room  to  get 
better  acquainted.  A  coupla  thugs 
•vere  there.  They  wanted  to  go 
put  to  a  night  club,  and  the  little 
yellow  asks  to  go  along.  We  took 
>im  with  us,  and  he  told  me 
afterward  that  he  never  had 
iuch  a  swell  time  in  his  life." 
■  lealy  shook  his  head. 
['  Gosh,  that  boy's  gotta 
i'oice.  Wish  I  owned  ten 
er  cent  of  him!" 

ONE  particular  day  re- 
cently was  what  you 
night  term  momentous. 


?he  beautiful,  cul- 
ured  Anna  May 
Vong  was  so 
sisurely  over  dinner 
he  missed  the  Chi- 
nese consul 


Max  Reinhardt's  presentation  of  "A 
Midsummer  Night's  Dream"  will 
come  to  the  screen  now.  Here  is 
Reinhardt  signing  a  contract  to  pro- 
duce spectacles  for  Warner  Brothers. 
Jack  Warner  (left)  and  Hal  Wallis  are 
watching 


Louise   Fazenda's  party   was  that 
night  and,  of  course,  I  wanted  to 
look    very    special.      So    to    the 
beauty  shoppe,  where  they  let 
loose  on  little  Cummings. 
And,  I  must  first  tell  you  a 
story  about  Miriam  Hopkins 
that  came  from  my  opera- 
tor, who,  like  Miriam,  is  a 
Southern  girl.     It  was 
that,  I'd  judge,  which 
started  the  bond  of 
friendship  between 
them.    Anyway, 
the  little  beauti- 
cian gets  herself  a 
vacation,  spends  it 
on  a  trip  to  Pana- 
ma, and  promptly 
falls  wildly  in  love 
with  an  army  flier. 
She    comes    back, 
and  one  day  dur- 
ing  a  shampoo , 
CONFESSES  ALL 
to   Miss  Hopkins,  plus 
the  information  that  her 
beau    is    coming    up    to    Los 
Angeles  to  see  her  .  .  .  and  may- 
be to  marry  her. 

[  PLEASE  TURN  TO  PAGE  89  ] 


A5 


No 


rma 


Sh 


earer 


Rel 


axes 


Norma  Shearer  surely  is 
just  about  as  chic  as  any- 
thing we  ever  saw  on 
horseback — or  off,  for  that 
matter,  when  she  dons  her 
fine  tan  whipcord  breech- 
es and  her  English  knit 
shirt  of  darker  tan.  She's 
taking  things  easy,  after 
her  success  in  "The  Bar- 
retts of  Wimpole  Street" 


When  you  need 
rest,  stand  on  your 
head !  Norma  does 
it  on  the  spring- 
board of  the  swim- 
ming pool  at  her 
Santa  Monica 
home.  And  isn't  her 
nautical  lounging 
suit,  shown  above, 
a  nifty  beach  outfit? 


hG 


Here's  One  Fat  Man 
Somebody  Loves 


E! 


DWARD  ARNOLD  should  know.  He  says  that  being 
a  fat  man  has  its  advantages,  particularly  in  the  movies. 
Because,  he  explains,  he  can  play  all  sorts  of  character 
roles  and  last  indefinitely.  He'll  tell  you  that  a  movie 
fat  man,  in  that  respect,  has  it  all  over  a  romantic  leading  man. 
Of  course,  that's  Eddie's  opinion. 

He  declares  he's  the  happiest  man  in  Hollywood — for  two 
reasons.  First,  because  he's  the  proud  father  of  three  fine 
^children,  nine,  fourteen,  and  sixteen.  Second,  because  he's  gone 
•beyond  being  just  established  in  pictures  and  has  reached  the 
jStage  where  he's  in  constant  demand.  And  his  record  backs  up 
ithat  last  statement.  You  know  of  "Wednesday's  Child." 
(Going  the  rounds  now  are  his  "  Biography  of  a  Bachelor  Girl," 
and  "The  President  Vanishes."  There  are  three  pictures  in 
ibout  three  months.  And  two  more  are  already  lined  up  for 
him.  Yes,  it  might  be  said  safely  that  Eddie  is  in  constant 
demand. 

And  here's  something  about  his  private  life.  His  favorite 
indoor  sport  is  cooking!  Honest.  He  likes  nothing  better  than 
to  don  a  huge — and  huge  is  the  word — apron  and  prepare  the 
evening  meal  for  his  family.  "And  if  you  don't  think  I'm  a 
?ood  cook,"  he'll  challenge  you,  "take  a  look  at  my  youngsters. 
They're  the  healthiest  in  town!" 

Born  on  New  York  City's  East  Side,  Eddie  had  to  hustle  for 
limself  very  early  in  life.  Why,  at  ten  he  was  an  office  boy  in  a 
aw  firm!  Through  a  settlement  house  club,  he  became  interested 
n  theatricals.  Then  came  years  of  vaudeville  and  stock.  And 
hose  years  were  well  inter-larded  with  many  lean  and  hungry 
lays!  But,  they  taught  him  the  lesson  of  saving  for  that  im- 
>robable  (for  him)  rainy  day.     Which  brings  this  up: 

He  never  carries  an  umbrella  and  nobody  can  get  him  into  a 
>air  of  galoshes,  overshoes,  if  you  like  it  that  way. 


She's  The  Belle  Of 
The  Film  Colony 


TOBY  WING,  a  pink  and  golden  doll-baby,  a  peppermint 
stick  of  loveliness.  Well,  to  sum  it  all  up,  Hollywood  is 
completely  Toby-struck.  Toby-struck  has  a  real  mean- 
ing down  South,  Suh,  where  Toby  hails  from.  It  means 
a  homely  colt.  Can  you  imagine  Toby,  at  any  time  in  her 
young  life,  being  homely? 

And  speaking  of  her  young  life,  this  nineteen-year-old  blonde 
of  enjoyable  pertness  is  just  what  the  doctor  ordered,  Holly- 
wood's males  contend. 

But  why?  Well,  gather  closer.  Here  it  is,  as  Toby  gives  it: 
What's  sauce  for  the  goose,  is  applesauce  for  the  gander.  And 
this  is  how  it  works: 

Toby's  first  great  romance  was  Jack  Oakie.  Jack  asked  for 
a  movie  date.  But,  said  Toby,  you  must  ask  mama.  And  Jack 
had  to  ask  not  only  mama  but  papa.  And  Jack  had  to  have 
references!    So  he  brought  over  his  sister  and  her  two  children! 

Then  H.  B.  Franklin,  Jr.  "I  simply  adore  beautiful  cars," 
she  said  of  his.  (Remember  that  statement  for  when  you  read 
further.) 

Ah!  And  then  came  Maurice!  None  other  than  Maurice 
Chevalier.  A  demure  little  red  dress  with  a  more  demure  little 
Toby  in  it  got  Maurice,  Toby  says.  But  Maurice  also  got 
Toby.     "I  shall  never,  never  forget  Maurice,"  she  vows. 

Anyhow,  enter  Mr.  Jackie  Coogan.  This  one  still  stands, 
with  a  few  intermissions,  such  as  Alfred  Gwynn  Vanderbilt,  Jr., 
and  Howard  Hughes,  producer  of  "Hell's  Angels,"  is  also 
prominently  in  the  running.  And  another  young  producer 
was  no  proof  against  Toby's  spell,  for  a  time. 

Now  remember  that  line  about  H.  B.  Franklin's  cars.  "I 
simply  adore  old  cars,"  Toby  told  Alfred  when  he  drove  up  for 
her  in  one. 

Toby's  great  fun,  and  really  most  naive. 

47 


Hollywood 
Holiday 
Follies 


Christmas  time  is  drawing  near. 
Santa  Clans  will  soon  be  here 
With  his  presents  and  his  toys 
For  all  the  little  girls  and  boys. 

YEA,  ye  good  old  YuleHde  draweth  nigh.  Too  nigh  for 
any  good,  if 
you  want 
cold,  hard 
facts.  And  poor  old 
Hollywood,  its  muf- 
fler knotted  about 
its  quivering  Adam's 
apple,  plodded  on  its 
weary  way  unrejoic- 
ing.  Weary  from  its 
long  skipping  o'er 
the  ice  cakes  with 
the  bloodhounds  of 
censorship  yapping 
at  its  heels.  As  well 
as  its  nice  people. 
In  fact,  Hollywood 
wouldn't  have  cared 
a  jingle  if  Santa 
Claus  had  fallen  off 
someone's  simple 
old  chimney  and 
broken  his  silly  old 
neck. 

To   be  honest,   a 
lot  of  people  had  no 

idea  what  all  the  rushing  around  was  about.  Some  had 
a  vague  idea  St.  Patrick's  day  was  about  to  descend  on 
them  and  others  decided  it  must  be  Groundhog  day 
that  was  approaching.  But  nobody  cared  much,  one 
way  or  the  other. 

And  then,  as  if  by  magic,  one  lovely  morn,  battered 
old  Hollywood  lifted  its  blackened  eyes  and  took  one 
look  at  the  holly  berries,  took  one  sniff  at  the  plum 
puddings  and  one  glimpse  at  Sam  Hardy's  new  red  and 
green  overcoat  and  cried,  "It's  Christmas.  Let's  rejcice. 
Let's  throw  off  this  mantle  of  gloom  and  make  this  a 
Christmas  none  shall  forget." 

Loud  rang  the  huzzahs.    In  fact  out  at  Warners 
they  had  to  gag  Joe  E.  Brown  to  keep  him  from 
splitting  asunder  the  nearby  mountains  and  Al 
Jolson's  head.  Overnight  committees  were  formed 
and  Hollywood's  Holiday  Follies  was  on. 

Meetings   were   held   nightly    at    the    Brown 
Derby.  "We'll  unite  in  one  grand  colossal  holi- 
day    jubilee,"     Winnie     Sheehan     announced. 
"Let's    have    all    the    old    Christmas    jingles 
printed  and  handed  out  so  all  may  read.  What 
about  the  reindeer  one  that  goes  'On  Dasher! 
On  Dancer!   On  Prancer  and  Vixen!"? 

"Just  a  minute,"  another  producer  spoke 
up.    "Just    who    are    these    'Dasher'    and 
'  Dancer'  people?  Why  should  we  give  pub- 
licity to  those  guys?    I 
move   we    make   this   a 
Hollywood  thing  and 
exclude    all    outsiders." 
So  a  writer  from  one  of 
the  studios  was  hurriedly 
summoned  who  made  the 
necessary  changes.    The 
poem  was  then  rewritten 
and  passed  out  around  to 
great  applause  while 
everyone  read  in  unison, 


48 


"On  Schulberg!   On  Thalberg!  On  Zanuck  and  Selznick! 

On  Briskin!   On  Ruskin!   On  Rivkin  and  Riskin!" 
The  cheering  practically  tore  down  the  Derby.  Then  a  direc- 
tor from  Paramount  stepped  forth  and  said  he  wanted  to  con- 
tribute another  gem  of  Yuletide  cheer  in  the   little  poem, 
"Jingle  bells,  jingle  bells,  jingle  all  the  way." 

"  Our  version,"  he 
said,  glancing  ner- 
vously about,  "goes 
like  this: 

"Jingle  Belle  of 
the  Nineties, 
Jingle  Belle  of 
the  Nineties, 


Jingle  all 
the  way  up  to 
the  nearest 


Paramount  theater  and  see  Mae  West  in  her  new  super  colossal 
picture." 

Screams  of  protest  arose  just  as  he  had  expected.  "Let  there 
jbe  no  advertising,  gentlemen.  Let  this  be  strictly  uncom- 
mercial." 

The  director  retired  in  silence. 

A  timid  little  assistant  director  from  Warner  Brothers  then 

arose  and  said,  "  Gentlemen,  we 
offer  this  old  rhyme, 

"Little  Jack  Warner,  sat  in  a 
corner, 
Eating  his  Christmas  pie. 
He  put  in  his  thumb- 


'And  Joe  Brown  bit  it,"  some- 


Bing  could  sing  under  the  Paramount 
windows  and  Rudy  and  Dick  before 
^  arncrs,  while  other  studios  could 
stand  by  with  buckets  of  scalding  water 


ILLUSl  H  VI  I    p 


FRANK    U  <)  1)  r  K  S 


one  rudely  interrupted  while  the  little  assistant  director  broke 
into  sobs  and  had  to  be  led  from  the  place. 

Walt  Disney  then  arose  and  said  he  would  like  to  submit  his 
version  of  a  famous  Christmas  poem.    So  saying,  he  began, 
"  Twas  the  night  before  Christmas,  when  all  through  the  house 

Not  a  creature  was  stirring,  not  even  Mickey  Mouse." 
"I  don't  know  about  that,"  a  supervisor  said.  "Sounds  like 
to  me  it  ain't  got  no  class  or  somethin'.  That  way  it  could  be  a 
house  just  anywhere.  Why  not  give  it  a  touch  of  Beverly  Hills, 
like  this: 

"Twas  the  night  before  Christmas,  when  all  through  the 
twenty-two  room   Spanish  stucco    house  including  the 
tennis  court,  swimming  pool,  patio  and  Gilbert  Roland, 
Not  a  creature  was  stirring,  not  even  Mary  Boland." 

"Yea,  but  where  was 
Charlie  Ruggles  about  that 
time?"  someone  wanted  to 
know,  which  just  spoiled 
everything. 

"There's   more    to    that 
poem,"  Adolph  Zukor  said. 
"  There's  one  part  that  says, 
"When  out  on  the  lawn 
there    arose    such    a 
clatter 
I  sprang  from  my  bed 
to  see  what  was  the 
matter." 
"Well,  there's  nothing  new  in  that,"  Gary  Cooper  protested. 
"Everyone  in  Hollywood  has  been  springing  from  their  beds 
for  years  at  terrible  clatters,  and  it's  always  Jack  Oakie  getting 
home  from  a  party.   I  move  we  skip  that  part." 

It  was  skipped.  While  someone  else  asked  what  about  the 
one  that  went, 

"Here  are  the  stockings  of  little  Nell, 

Oh,  Mr.  Santa  Claus,  fill  them  well." 
Immediately    Howard    Strickling    of    M-G-M 
sprang  to  his  feet  and  said,  "  I  submit  this  one 
in  the  name  of  my  boss,  Louis  B.  Mayer."  At 
this,  flags  were  unfurled  all  over  everything 
while,  amidst  loud  cheers,  Howard  read, 
"Here  are  the  stockings  of  little  Greta 
Oh,  Mr.  Santa  Claus,  don't  forget-a." 
Immediately  Paramount  leaped  up  with, 
" Herearethestockingsof little  Marlene, 
See  if  you  can  fill  them  as  well  as  she 
can-a." 
All  of  which  was  terribly  confusing 
to  a  little  gentleman  in  the  corner 
who,  in  some  way,  had  gathered 
the  idea  it   was   Yom 
Kippur  that  was  on  its 
way  and  just  why 
Garbo's  stockings  and 
Santa  Claus  should  be 
messing  around  with 
Yom   Kippur  was  be- 
yond him. 

"How  about  this, 
'Oh  what  fun  it  is  to 
ride  in  a  one  horse  open 
sleigh"?  Harry  Cohn, 
of  Columbia  asked 
next. 

"  No  one  rides  behind 
a  horse  in  anything 
these  days,' '  Bob 
Montgomery  replied, 
"except  Will  Rogers, 
and  certainly  you  can't 
go  around  singing,  'Oh 
what  fun  it  is  to  ride  in 
Will  Rogers'  one  horse 
open  buckboard'." 

49 


"  Skip  the  buckboard,"  someone  else  suggested,  "and  give  the 
whole  thing  class  like  this, 

"  Oh  what  fun  it  is  to  ride  in  a  16-cylinder  limousine  with  red 
leather  seats,  convertible  bars,  flower  vases,  cigarette 
boxes — " 

"No,  I  got  it,"  a  director  snapped.  "We'll  sing, 

"Oh  what  fun  it  is  to  ride  in  Bill  Fields'  trailer,  including 
everything." 

And  so  it  was  decided. 

Sam  Goldwyn  now  arose  and  said,  "  Gentlemen,  I  propose 
that  during  the  Holiday  Jubilee,  the  studios  show  their  good 
will  to  each  other." 

"  We  can  show  you  our  good  Will  Rogers,"  a  gentleman  from 
Fox  interrupted.  And  in  view  of  the  fact  that  Will's  high  box- 
office  rating  was  a  heartbreak  to  everyone,  a  stunned  silence 
followed  while  the  gentleman  (or  maybe  he  wasn't  in  every 
sense  of  the  word)  from  Fox  crept  out  the  back  door.  And  that 
ended  the  good  will  business  for  once  and  all. 

Right  here,  a  little  trouble  arose.  W.  C.  Fields  said  that  unless 
he  could  climb  up  on  Paramount 's  roof  and  sing  his  favorite 
Christmas  song  entitled,  "  Up  on  the  housetop,  hie,  hie,  hie," 
he  wouldn't  play.  And  Jimmy  Durante  came  back  and  said 
that  if  Fields  was  allowed  to  "  hie"  on  the  roof,  then  he  wanted 
to  wear  the  mistletoe  on  his  hat.  It  was  finally  settled  that 
Fields  could  sit  on  the  roof  and  sing,  "Up  on  the  housetop,  hie, 
hie,  hie"  to  his  heart's  content  and  Jimmy  could  wear  the 
mistletoe  and  if  anyone  succeeded  in  kissing  him  in  spite  of  the 
nose,  he  should  be  awarded  the  role  of  The  Art  Jul  Dodger  in  the 
next  Dickens  drama. 

WHEN  it  came  to  the  selection  of  the  Carol  singers,  the 
confusion  was  terrible.  Warners  insisted  the  serenaders 
consist  wholly  of  Rudy  Vallee  and  Dick  Powell.  This  simply 
crushed  the  spirit  of  Lyle  Talbot  forever  as  Lyle  was  dying  to 
sing  under  all  the  girls'  windows. 


Paramount  immediately  turned  pink  with  rage  and  insisted 
that  Bing  Crosby  be  the  Carol  singer.  M-G-M  rather  timidly 
said  they  had  thought  of  Chevalier,  and  in  no  uncertain  terms 
everyone  howled  they  would  tolerate  no  one  going  around  in  a 
straw  hat  singing  "The  Merry  Widow  Waltz"  under  their  win- 
dows with  a  French  accent.  That  life  was  hard  enough  as  it  was. 

T\  TELL,  the  argument  waxed  long  and  fierce.  Finally  Para- 
VV  mount  screamed,  "We  simply  will  not  have  Rudy  Vallee 
going  around  under  windows  singing,  'Hi  ho,  everybody,  I'm 
just  a  vagabond  lover,'  and  Dick  Powell  coming  in  with  '  Pop 
goes  your  heart'." 

"We  could  fix  that,"  Warners  argued.  "We  could  give  it  a 
little  Christmas  twist  like  '  Pop  goes  your  little  new  popgun'  or 
'Pop  go  your  nice  little  popcorn  balls'." 

"Aw,  pop  goes  your  weasel,"  Paramount  sneered. 

"  Well,"  they  came  back,  "it's  better  than  Bing  Crosby  going 
around  warbling,  '  Is  it  the  trees,  is  it  the  spring?  No,  it's  love 
in  bloom,  boo  boo  boob  boo'." 

"That's  easily  fixed,"  a  song  writer  from  Paramount  said. 
"We'll  just  have  Bing  sing,  'Is  it  the  trees  all  covered  with 
tinsel?  Is  it  the  Spring  in  my  little  Jack-in-the-box?  No,  it's 
my  little  potted  poinsettia  in  bloom,  boo  boo  boob  boo'." 

Anyway,  it  was  finally  decided  that  Bing  could  sing  undei 
the  Paramount  windows  and  Rudy  and  Dick  under  the  Warner 
Brothers  windows,  while  all  the  other  studios  could  stand  by 
with  buckets  of  scalding  water  for  anyone  who  dared  warble  a 
note  near  their  premises. 

Then  came  the  most  important  problem  of  all:  How  to  enter 
tain  Santa  Claus.  This  brought  on  a  terrible  clamor  of  disagree 
ment  but  finally  it  was  decided  a  committee  composed  of  s 
prominent  supervisor  from  each  studio  stand  on  guard  at  Mat 
West's  chimney,  for,  knowing  Santa  Claus  from  a  way  back 
they  had  a  hunch  that  that  would  be  the  first  place  he'd  breal 
for.  All  things  being  considered  [  please  turn  to  page  105 


Alice  Brady  at  home.     And  Miss  Brady's  Beverly  Hills  house  is  one  of  the  most  colorful  in  Moviedom. 
The  walls  are  done  in  tones  of  red,  the  predominating  color.    That  fascinating  couch,  with  space  for  flower 
pots  on  the  ends,  was  designed  especially  for  the  star  by  Adrian 


50 


It's  Never  Been 
Done  Before 


Ketti  Gallian  did 
not  speak  English 
when  Winfield 
Sheehan  dis- 
covered  her.  She 
learned  to  in  a  hun- 
dred days! 


IT  has  never  happened  before. 
True,  there  have  been  the 
Garbos,  the  Dietrichs,  the  Stens, 
the  Lilian  Harveys,  the  Made- 
leine Carrolls — a  whole  parade  of 
glamorous  ladies  from  Europe  to 
the  American  screen — but  they  were 
all  stars  in  their  own  countries  be- 
fore boarding  fast  liners  for  our 
shores. 

Never  before  has  a  virtual  unkno 
major  stage  appearance  to  her  credit 


An  extra  girl  from  over- 
seas becomes  the  star  of 
her  first  Hollywood  film 

By  Robert  Burkhardt 


wn — a  girl  with  only  one 
and  whose  screen  "experi- 


Sten,  Dietrich,  and 
all  the  rest  really 
were  stars  abroad, 
but  ''Marie 
Galante"  is  Ketti's 
debut  as  a  movie 
lead 


ence  consisted  of  appearing  as  an 
extra  and  bit  player — been  brought 
to  Hollywood  from  overseas  and 
pitchforked  into  a  starring  role  for 
her  picture  debut. 

The  girl  is  Ketti  Gallian,  of 
France.  The  story  of  her  discovery 
and  the  odd  provisions  of  her  con- 
tract -is  one  of  the  most  unusual  in 
the  history  of  a  place  where  the 
unusual  occurs  so  often  that  it  has  become  commonplace. 
It  happened  one  night —  [  please  turn  to  page  106  ] 

51 


CERTAINLY 
Mady  Christians 
is  someone  to 
look  up  to  in  this 
scene  from  M-G-M's  "A 
Wicked  Woman.'' 
Charles  Bickford  is  the 
intense  gentleman  em- 
bracing her,  and  another 
Charles,  by  last  name, 
Brabin,  is  directing 
them.  He  is  the  man 
with  one  foot  on  the 
stairs.  Behind  Mr. 
Brabin  are  his  camera- 
men and  technicians, 
getting  some  unique 
shooting  angles  for  the 
first  American  film  of  the 
Viennese  Miss  Chris- 
tians. 

This  photograph  was 
taken  on  the  set  at  the 
M-G-M  Studio,  and 
shows  you  actual  work- 
ing  conditions.  "A 
Wicked  Woman"  is  now 
ready  for  your  inspec- 
tion, so  you  may  see  this 
sequence  as  the  movie 
camera  caught  it. 

'  I  'HE  screen  story  is 
•*•  based  on  a'  novel  by 
Ann  Austin.  It  involves  a 
woman's  determined 
fight  to  give  her  children 
a  decent  upbringing, 
after  she  has  killed  their 
rum-running  father  and 
fled  with  them  from  a 
miserable  existence  in 
the  malarial  swamplands 
of  Texas.  Bickford  plays 
the  part  of  a  man  who 
comes  into  Mady's  life 
after  she  has  established 
herself  in  a  position  of 
respectability.  But  then 
the  veil  is  torn  from  the 
ugly  past,  and  the  com- 
plications are  stirring  in 
their  drama.  It  all  — 
but,  see  for  yourself. 

T-TERE  are  a  few  facts 
about  Mady  Chris- 
tians that  may  have 
slipped  your  mind.  Al- 
though this  is  her  first 
Hollywood  picture,  she 
has  acted  before  the  cam- 
eras across  the  sea.  She 
wasintheFox-Gaumont- 
British  "Heart  Song." 
She  is  no  stranger  to  the 
New  York  stage.  Earlier, 
she  attended  Max  Rein- 
hardt's  school  in  Berlin. 
Someof  the  other  players 
in  "A  Wicked  Woman" 
are  Jean  Parker,  Betty 
Furness  and  Sterling 
Holloway. 

62 


53 


CAT  4  •  The  Monthly 


ro/ur 


Announcing 


Broadcast  of 


The  late  Lou  Tellegen  was  at 
the  height  of  his  romantic 
career  at  the  time  this  picture 
was  taken,  shortly  after  his 
marriage  to  Geraldine  Farrar 
in  1916.  Then  there  was  not 
a  hint  of  the  divorce  and 
other  clouds  that  were  to 
darken  his  horizon 


Frank  Fay  and  his  charming 
wife,  Barbara  Stanwyck,  as 
Frank  was  about  to  officiate 
as  Master  of  Ceremonies  at 
the  dedication  of  a  Sunday 
Night  Frolics  series,  in  Holly- 
wood. Frank  and  Barbara 
are  still  one  of  the  most  de- 
voted film  colony  couples 


THE  month's  laurels  for  tact  go  to  the  head 
waiter  at  the  Trocadero,  Hollywood's 
super  supper  spot.  Douglas  Fairbanks 
sat  with  an  after-theater  party  including  Clark 
Gable,  Richard  Barthelmess,  Kay  Francis  and 
other  friends.  In  came  Mary  Pickford  with 
another  party,  including  the  Johnny  Mack 
Browns  and  the  Charlie  Farrells. 

The  head  waiter  never  batted  an  eye.  With 
perfect  calm  and  poise,  he  escorted  Mary  and 
her  entourage  to  a  booth  at  the  other  end  of  the 
room. 

And  there  sat  the  Royal  House — divided,  as 
far  as  the  house  would  allow — until  Doug  broke 
the  ice  and  went  over  for  a  friendly  chat  with 
Queen  Alary. 

•"THEY  are  now  running  excursions,  in  Holly- 
wood  at  least,  to  view  that  magnificent  new 
fence  of  Garbo's.  It  is  made  entirely  of  willow 
branches,  ten  feet  high,  with  sharp  points  suit- 
able for  catching  the  trouser  seats  of  any  prying 
cameraman. 

Willow,  weep  for  us! 

54 


A  LIST  of  grand  old-timers,  glorious  stars  of 
not  so  long  ago.  Chesterfield  has  this  line- 
up: Mary  Carr,  Barbara  Bedford,  Bryant 
Washburn,  Robert  Frazer.  At  Columbia:  Lou 
Tellegen  (whose  death  came  before  he  could 
make  a  picture),  Hobart  Bosworth,  Claude 
Gillingwater. 

HPHEY  were  taking  pictures  of 
A  Margaret  Sullavan  in  gorgeous 
evening  gowns.  Maggie  was  all 
done  up,  fine  feathers,  fancy  hair- 
dress  and  everything.  Then  the 
cameraman  happened  to  glance  down 
at  the  floor — and  almost  fainted. 
La  Sullavan  was  barefooted ! 

"Why  not?"  she  advanced.  "My 
feet  don't  show,  and  it's  a  lot  more 
comfortable." 

r^HARLIE  BUTTERWORTH  and  the 
^^Missis  (Ethel  Kenyon  Sutherland  Butter- 
worth)  were  observed  at  the  El  Rey  Club,  evi- 
dently having  a  grand  time.  The  third  person 


at  their  table  was  none  other  than  Director 
Eddie  Sutherland — former  husband  of  Mrs. 
Butterworth,  who  was  the  third  Mrs.  Suther- 
land. 

/GLORIA  SWANSON  and  Herbert  Marshall 
^"*seem  to  favor  the  old  established  Cocoanut 
Grove,  rather  than  the  newer  and  fancier  night 
spots.  They  were  observed  there  again  recently 
— Gloria  looking  like  an  eighteen-year-old  col- 
lege girl. 

A  T  the  Hollywood  premiere  of 
•"•"The  Affairs  of  Cellini,"  Louis 
Calhern,  one  of  the  cast  speaking 
from  the  stage,  said,  "I  consider  it 
an  honor  to  have  worked  in  this  pic- 
ture with  such  artists  as  Fredric 
March,  Frank  Morgan,  Vince  Bar- 
nett,  Fay  Wray — and  that's  all." 

Was  Connie  Bennett's  name  de- 
liberately or  accidentally  left  out? 
Louis  said  "And  that's  all."  But 
he  won't  talk. 


Among  the  celebrities  at  the  "Wel- 
come Home"  for  Marion  Davies 
were  the  Countess  di  Frasso  and  the 
noted  producer,  Samuel  Goldwyn 


"VEARS  ago,  Roscoe  (Fatty)  Arbuckle  gave 
James  Cruze  a  gold  watch.  He  engraved  it 
'Roscoe  to  Jimmy."  Shortly  after,  someone 
stole  the  watch.  Recently  at  a  party  at  Cruze's 
house,  a  guest  drew  out  his  watch  and  Cruze 
saw  it. 

"Where  did  you  get  it?"  he  asked. 

"In  a  pawnshop,  bought  it  for  the  gold," 
said  the  man,  "  then  I  decided  to  use  it." 

They  opened  the  case.  There  were  the  words 
— "Roscoe  to  Jimmy." 

TT  was  Lee  Tracy  who  sprung  this. 
"Yeah,  when  you  don't  work  on 
Broadway,  it's  a  lay-off.  But  when 
you  don't  work  for  two  years  in 
Hollywood,  you're  a  supervisor." 


Al  Jolson,  just  up  to  his  old  tricks 
at  one  of  the  wrestling  matches 
that  entertain  Hollywood.  The 
whole  town  turns  out  on  these 
nights 


Now  that  Marlene  Dietrich  and  Josef  Von  Sternberg  have 

decided  to  go  their  respective  cinema  ways,  can  it  be  that 

Rouben  Mamoulian,  here  with  Marlene,  is  to  be  her  next 

director?    Ernst  Lubitsch  has  a  bid  in,  too 


XJOW  that  Marlene  and  Von  Sternberg  have 
decided  to  go  their  separate  ways,  profes- 
sionally, it  will  be  interesting  to  see  the  paths 
that  each  choose. 

Maestro  Von  Sternberg  believes  that  "We 
have  progressed  as  far  as  possible  together.  My 
being  with  Miss  Dietrich  any  further  will  not 
help  either  her  or  me.  If  we  continued  we 
would  get  into  a  pattern  which  would  be  harm- 
ful to  both  of  us." 

So,  when  "  Caprice  Espagnole"  is  completed, 
Marlene  will  have  another  director  and  Von 
Sternberg  will  have  another  star.  Rumors  also 
persist  that  Josef  will  be  leaving  Paramount. 

"V\  7TLL   Virginia   Bruce   and   John   Gilbert 

remarry?  Virginia  still  insists  on  being 
addressed  as  Mrs.  John  Gilbert.  And  there's 
the  baby. 

"TVDUG  FAIRBANKS,  Jr.  comes  home  next 
February,  for  a  stage  play,  "Moonlight  Is 
Silver,"  starring  him  and  Gertrude  Lawrence. 
If  I'm  correct,  it  was  in  this  play,  on  the  Lon- 
don boards,  that  Doug,  in  one  scene,  clasps  a 
jeweled  bracelet  on  Gertie's  wrist,  prop  jewels, 
of  course.  Now  listen  closely — one  night  Doug 
popped  on  the  bracelet — and  it  was  the  real 
thing.  Just  a  love  token. 


55 


/"^IRLS,  you  needn't  pass  up  that  date  with 
^^the  boy  friend  now,  because  you're  just 
back  from  the  hairdresser's  with  your  locks  all 
done  up  tight  in  pins.  Because,  Joan  Crawford 
appeared  at  a  premiere  of  a  picture  with 
Franchot  Tone — and  Joan's  hair  was  all  done 
up  in  paper  curlers. 

CAMUEL  GOLDWYN,  noted  Hollywood 
'  producer,  has  chosen  the  following  as  the  ten 
most  outstanding  stars  of  film  history,  and 
rates  them  in  the  order  named:  Charles  Chap- 
lin, Douglas  Fairbanks,  Sr.,  Norma  Shearer, 
Mary  Pickford,  Marguerite  Clark,  Janet  Gay- 
nor,  Greta  Garbo,  Clara  Bow,  Wallace  Reid, 
and  Marie  Dressier. 

Of  the  ten  listed,  only  five  are  making  pic- 
tures today,  two  have  died,  and  three,  in- 
cluding Mary  Pickford,  have  retired  from  the 
screen. 

A  FTER  this,  anything's  likely  to  happen. 
You  don't  have  to  imagine  Mae  West 
with  a  lorgnette — you  can  see  her  with  one. 
Hollywood  got  its  first  glimpse  of  the  haughty 
article  at  Emanuel  Cohen's  recent  testimo- 
nial dinner — when  Mae  impressively  eyed  the 
assembled  guests  through  it. 

She  says  she  always  has  carried  one — but 
maybe  she  was  bashful  before. 

Hollywood,  slowly  recovering,  expects  a 
monocle  any  day  now. 

T\7HILE  making  "Repeal"  at  the  M-G-M 
studio,  Carole  Lombard  had  a  birthday. 
Among  the  lovely  gifts  were  six  or  seven  huge 
bouquets  from  William  Powell.  But  the  climax 
to  the  celebration  came  when  the  delivery  boy, 
through  error,  tried  to  deliver  the  flowers  to 
Jean  Harlow's  dressing-room. 

PT'HE  ill-fated  "Trader  Horn"  catastrophes 
are  clearing  up  a  little.  Dozens  of  doctors 
have  attended  Edwina  Booth,  trying  to  effect 
a  cure  for  the  mysterious  jungle  fever  she  is 
said  to  have  contracted  during  the  African 
expedition. 

Now  there  is  a  doctor  who  is  certain  of  a 
cure. 

And  friends  of  Duncan  Renaldo  are  making 
an  appeal  for  his  release.  He  was  convicted 
on  an  immigration  quota  infringement. 

The  Marquis  de  la  Falaise  was  stricken  with  a 
similar  jungle  fever,  and  John  Barrymore  has 
recurrent  attacks  of  the  same  disease. 


Paramount  employees  are 
all  for  Emanuel  Cohen, 
studio  head.  So  much  so, 
that  they  gave  him  a  testi- 
monial dinner,  at  Holly- 
wood's Ambassador.  Mr. 
Cohen  is  smiling  happily. 
And  why  not,  with  such  a 
bevy  of  beauty  about  him? 
From  the  left,  you  can 
readily  recognize  Mary 
Boland,  Katherine  DeMille, 
and  (standing)  Arline  Judge 


Sidney  Kingsley  is 
referred  to  as  the 
"Dark  Horse"  in  the 
life  of  Sylvia  Sidney. 
This  is  the  first  time 
they  have  been 
caught  together  by 
the  camera,  although 
they've  been  around 
town  quite  a  lot,  off 
and  on 


Step  up  and  meet 
royalty !  King  Ed- 
mund Lowe  and  his 
Queen,  Mrs.  Wilson 
Jones,  as  they  pre- 
sided  at  the  gay 
charity  entertain- 
ment given  by  the 
Twenty  Little  Work- 
ing  Girls  at  the 
Cocoanut  Grove  in 
Hollywood 


56 


When  royalty  was  divided.  Here  you  see  Mary  Pickford 
and  her  guests  at  the  Trocadero,  in  Hollywood.  From  the 
left,  are  Charles  Farrell  and  his  wife,  Virginia  Valli  Mrs 
Johnny  Mack  Brown,  Queen  Mary,  and  Johnny  Mack 
Brown.  And,  although  you  cannot  see  him,  Douglas  Fair- 
banks and  his  pa.rty  are  at  another  table,  with  the  width  of 
the  big  room  between  them.  However,  shortly  after  this 
picture  was  taken,  Doug  joined  Mary 


•"THE  mysterious  lady  who  has  been  calling  on 
George  Brent  is  Greta  Garbo— after  all  the 
speculation  going  around  for  weeks  and  weeks. 
The  Toluca  Lakers  have  been  practically 
dithered  ever  since  they  discovered  Greta  in 
George's  back  yard  playing  handball  and 
.  punching  the  bag  with  a  right  good  will. 

npWO  comedians  went  to  the 
wrestling  matches  together. 

"That  wrestler  certainly  has  a  lot 
of  stamnia,"  one  remarked. 

"Yes,  but  not  nearly  as  much  as 
Rosco  Ates,"  the  other  drawled. 

pHE  proudest  possession  of  a  Hollywood 
child  star  is  his  bridge-work,  of  all  things! 
As  fast  as  the  children  lose  their  front  baby 
teeth,  they  are  rushed  to  a  dentist  who  fits 
Lhem  up  with  false  ones  which  they  wear  all 
trough  the  picture. 

You  should  see  little  David  Holt  and  Cora 
iue  Collins  proudly  displaying  theirs.      "It 


When  you  can  get 
Mr.  and  Mrs.  Will 
Rogers  together 
for  a  picture,  it  is 
a  rare  event,  in- 
deed. Mrs.  Will 
is  very  modest, 
and  shuns  the 
limelight.  How- 
ever, Will  is  fond 
of  boasting  he  is 
about  the  only 
man  in  all  movie- 
dom  with  his 
original  wife 


jlicks,  too,"  they  say. 

^IFE  begins  at  forty.  But  to  Arthur  Byron, 
a  good  actor  all  his  life,  stardom,  with  its 
lamorous  reward,  eluded  him  until  he  was 
xty-five.  It  was  then  Walter  Wanger  signed 
im  to  the  starring  role  in  "The  President  Van- 
hes."  And  from  all  reports,  the  delay  was  well 
orth  waiting  for. 


HrHE  lowdown  on  the  Gary  Grant-Virginia 
Cherrill  bust-up,  which  was  followed  by 
Cary's  dramatic  bender,  mistaken  for  a  "sui- 
cide attempt,"  is  that  the  two  couldn't  get 
along  on  money  matters. 

"\Jty  C.  FIELDS  is  the  favorite 
•  comedian  of  Toby  Wing  and 
her  sister  Pat.  Almost  daily,  Toby 
goes  from  the  Paramount  studio  and 
relates  the  latest  Fieldsiana.  So 
Toby's  five-year-old  brother  Paul  has 
developed  quite  a  curiosity  about  W. 
C. 

"Tell  me,"  he  said  to  Toby,   "is 


W.  C.  Fields  a  real  actor,  or  is  he 
like  Mickey  Mouse?" 

•"THE  last  tone  world's  champion  Max  Baer 
came  to  Hollywood,  he  was  all  tied  up  in  an 
Indian  summer  romance  with  his  wife,  Dorothy 
Dunbar. 

But  this  time,  with  his  marriage  all  washed 
up,  Max  is  running  a  temperature  over  Judith 
Allen. 

They've  been  doing  the  night  spots  together, 
in  fact,  ever  since  he  first  came  to  town  for 
"Kids  on  the  Cuff,"  at  Paramount,  where 
Judith  also  checks  her  working  togs. 

[  PLEASE  TURN  TO  PAGE  86  ] 


57 


The 


?t 


*m 


Rediscovery"  of 

Bill 
Frawley 


One  of  the  "pioneers" 
of  Hollywood,  he  has 
made  a  film  comeback 
after  a  long  absence 

By  Scoop  Con  I  on 


The  Frawley  in  this  scene  from 
"The  Lemon  Drop  Kid,"  with 
Minna  Gombell,  is  the  same 
Bill  you  see  seated  at  the  desk 
in  the  old  production  still  at 
the  right 


o 


NE  of  Hollywood's  newest 
screen  "  discoveries  "  turns 
out  to  be  one  of  Holly- 
wood's "pioneers"! 


Because  of  several  sparkling  per- 
formances during  the  past  year, 
William  Frawley,  of  the  Broadway 
stage  Frawleys,  has  been  presented 
with  a  long-term  contract  by  Para- 
mount. 

During  the  filming  of  the  "The 
Lemon    Drop    Kid,"    one    of    those 
Damon  Runyon  stories  of  big  city  life 
in  which  Bill  Frawley  is  right  at  home 
as   a   wise-cracking,    sentimental   tough 
mug,  it  was  accidentally  discovered  that 
the    new    "discovery"    knew    more   about 
Hollywood  than  most  of  the  boys  and  girls 
who  earn  their  bread  and  butter,  swanky  cars 
and  Beverly  Hills  estates  out  here.    How  do  you 
like  that? 

Bill  Frawley  knew  all  the  picture  stars 
of  one,  two  decades  ago — when.  More 
than  that,  he  knew  most  of  them  very, 
very  well. 

Bill  is  still  quite  a  young  fellow,  but  he 
has  a  well-stocked  memory.  He  remembers 
when  all  colossal  movie  deals  were  made 
on  the  Million  Dollar  Rug  of  the  old  Alex- 
andria Hotel;  when  Charlie  Chaplin,  Mabel 

58 


mm* 


i  / 


l^ljJiiplBMl 


"The  Thoroughbred" 
was  one  of  the  early 
films  in  which  Bill 
and  his  wife  played. 
She  is  the  typist. 
The  late  William 
Russell  is  shown, 
talking  to  Bill 


Normand  and  Mack  Sennett  dined  nightly  at  Al 
Levy's  cafe;  when  Richard  Barthelmess,  Bobby 
Harron  and  D.  W.  Griffith  squired  the  Talmadge 
and  Gish  girls  to  the  Alexandria  Tea  Room  to 
dance  to  Paul  Whiteman's  music;  when  Richard 
Dix  and  Douglas        [  please  turn  to  page  116  ] 


JEWELRY  makes  a  perfect  feminine  gift,  especially  when  it  comes  in  sets 
as  this  above.  Hollywood  loves  the  bracelet  with  matching  dress  and  ear 
clips.     A  triangular  motif  in  rhinestones  is  a  novel  detail  employed  here 

SPARKLING    IDEAS 


IN    GIFTS 


VIRGINIA  PINE,  appearing  in  "Lady 
by  Choice,''  wears  her  gift  suggestion! 
Earrings  and  a  large  pin  of  multi- 
colored stones  follow  an  old-fash- 
ioned design.  This  duet  is  as  charming 
for  formal  costumes  as  for  informal  ones 


CERTAIN  to  make  a  hit  is 
the  gift  of  matching  acces- 
sories. Here,  at  left,  is  a 
set  of  hat,  gloves,  scarf  and 
hand-bag — all  in  a  soft, 
hairy  knit  fabric.  The  metal 
initials  are   part  of  the  set 


TRICKY  watches  are  the  pets  of  the  smartest  stars.  They 
like  to  give  and  to  receive  them.  Two  of  the  newest  de- 
signs are  sketched.  One  is  encased  in  a  lipstick  holder. 
The  other  is  a  money  clip  with  tiny  watch  for  the  motif. 
The  latter  is  a  good  gift  for  men  as  well  as  for  women 


MOIRE  shot  with  gold  is  one  of  the  loveliest  ma- 
terials of  the  formal  season.  Helen  Vinson  wears 
this  Kalloch  model  in  "The  Captain  Hates  the  Sea.'' 
Wide,  suspender-like  pieces  that  tie  on  the  shoul- 
ders make  a  daring  top  to  an  otherwise  demure  gown 


CHIFFON  returns  for  the  late  Winter  and  resort 
wear.  In  "Imitation  of  Life,"  Claudette  Colbert 
presents  this  charming  vision  in  white.  The  soft 
movement  of  skirt  and  wide  sash  are  interesting 
details.     Front  and  back  decolletage  are  the  same 


HOLIDAY  PARTY 
PREVIEWS 

HOLLYWOOD  CINEMA  FASHIONS 

here  sponsored  by  PHOTOPLAY  Magazine  and 
worn  by  famous  stars  in  latest  motion  pictures,  now 
may  be  secured  for  your  own  wardrobe  from  lead- 
ing department  and  ready-to-wear  stores  in  many 
localities  .  .  .  Faithful  copies  of  these  smartly 
styled  and  moderately-priced  garments,  of  which 
those  shown  in  this  issue  of  PHOTOPLAY  are  typ- 
ical, are  on  display  this  month  in  the  stores  of 
representative  merchants 


LACE  of  cobweb  sheerness  is  Banton's 
thought  for  a  forward  looking  mid-Winter 
evening  gown.^  Gertrude  Michael  wears 
it  in  Menace.''  Both  a  cape  and  peplum 
treatment  with  a  back  flare  to  the  skirt  are 
stressed,     giving     a     crisp,     graceful      line 


BEADS  embroidered 
in  a  herring-bone 
tweed  pattern  form 
the  unusual  tunic  of 
Fay  Wray's  dinner 
gown  designed  by 
Kalloch.  The  tunic, 
longer  at  back  and 
slashed  on  the  sides, 
is  girdled  with  flame 
chiffon.  The  same  chif- 
fon edged  with  beads 
makes  a  large  hand- 
kerchief which  Fay 
wears  also  as  a  scarf 


STAR  ROLES  FOR  TUNICS 


BANTON'S  keen  fashion  eye  spots  the  screen  pos- 
sibilities in  the  pencil  slimness  of  the  tunic.  He  gives 
this  simple  gray  dress  of  Kitty  Carlisle's  added  dash 
with  an  unusual  collar  framed  by  a  brilliant  splash  of 
plaid  silk.     Kitty  wears  it  in  "Here  Is  My  Heart" 


A  LIGHT  colored  tunic  with  dark  skirt  is  Shirley 
Grey  s  favorite  afternoon  costume.  The  tunic  is 
straight  and  plain  except  for  the  softly  draped  collar 
held  by  a  gold  tongue  clip.  This  is  from  her  personal 
wardrobe.  She  appears  next  in  "Wednesday's  Child"' 


I 


w 


to 


> 


NO,  Wallace  Beery  isn't  taking  a  couple  of  youngsters  out  for  a  walk.  The 
two  little  people  are  Olive  and  George  Brasno,  midgets,  fully  grown.  They 
play  the  roles  of  Mr.  and  Mrs.  Tom  Thumb  in  the  20th  Century  picture,  "The 
Mighty   Barnum."     Wally    is   Barnum    himself,    the    world-famous    showman 


Kenneth  Alexander 


GARBO'S  FIRST  FASHION 
SITTING  IN  FIVE  YEARS! 


OF  all  the  great  stars,  Greta 
Garbo  is  the  most  elusive 
when  it  comes  to  posing  in 
new  fashions.  Thus,  it  is 
a  distinct  thrill  to  give  you  a 
preview  of  three  costumes 
designed  by  Adrian  for  her 
new  picture.  A  gray  silk 
tea  gown,  above,  has  a 
pleated  organza  jabot  and 
deep    dolman    type    sleeves 


THE  sports  type  of  thing 
Garbo  loves — nonchalance 
in  the  swagger  lines  of  a 
white  flannel  coat.  A  man- 
nish note  in  the  polka-dotted 
navy  blue  taffeta  scarf.  And 
the  favorite  felt  hat,  also  in 
navy  with  a  new  height  to 
the  crown  and  a  downward 
lare  to  the  brim.  Adrian's 
hint     for    a     resort    costume 


Three  exciting  costumes 
from     The  Painted  Veil 
posed  exclusively  for 

PHOTOPLAY 


These  costumes  are  not  obtainable  in 
Hollywood  Cinema  Fashions'  stores 


J 


/ 


/ 


V 


A  NEW  version  of  the  famous  Garbo  pillbox 
hat  is  this  distinctly  Oriental  creation  in  corded 
felt  with  jade  ornament.  Jade  is  repeated  in 
the  exotic  Chinese  ornaments  used  to  trim  the 
simple  white  crepe  dress.  The  scarf  neckline 
is  held  by  the  large  clips  and  the  wide  belt 
is  composed  entirely  of  antique  squares  held 
by  the  carved  jade  buckle.  Adrian  uses  the 
dolman  sleeve  again  but  continues  the  fullness 
to  the  hand,  where  it  flares  outward.  This, 
too,    is    a     grand    Winter     resort     suggestion 


LS9?  at  lusc.ous  Ann  Sothern  through  the  camera  eye,  we  see  her  up- 

2dei°r: Bu  Annh    ,fhds    h      ^eupsetdbout  She.SdStdr    ^ 

Art  ^  "KiA  M  I  ?"  bd ,ckuSround!  She  did  avery  pleasing  job  in   United 

Artists      Kid  Millions,     and  her  next  picture  will  be  Columbia's  "Geor 


William  Fraker 


)rgiana 


Oalute  lVloy 
IXobson! 


A  great-grandmother, 
she's  a  fine  example 
for  every  woman  who's 
afraid  of  growing  old 

By  Ruth  Rankin 


MAY  ROB  SON  will  be  seventy  years  old  on  the  nine- 
teenth of  April,  1935. 
For  most  of  us,  the  late  sixties  are  regarded  as  a  ripe 
old  age  at  which  to  retire  and  contemplate  our  bless- 
ings.   If,  indeed,  we  are  lucky  enough  to  be  around  contemplat- 
ing anything. 

But  when  this  amazing  woman  could  count  three  score  years 
plus,  she  started  out  upon  a  new  career.  After  twenty  years  as  a 
stage  star,  and  some  years  on  the  stage  before  she  was  starred, 
and  then  a  successful  silent-screen  career,  she  launched  out  into 
the  audible  pictures  to  hang  up  additional  laurels  for  herself. 

May's  vitality,  her  grand  spirit,  are  marks  to  shoot  at.  If  you 
have  half  as  much  steam  at  fifty,  consider  yourself  a  success. 
There  is  certainly  no  woman  in  public  life  who  offers  a  better 
example  to  those  who  fear  approaching  age. 

Sometimes  she  has  as  long  as  two  days  to  rest  between  pictures. 
So  she  spends  them  sitting  for  portraits,  shopping,  or  making 
tests  at  the  studio.  She  goes  to  see  a  picture  four  or  five  nights 
out  of  the  week.  Sometimes  she  drives  her  car,  sometimes 
Lillian  Harmer,  her  friend,  companion  and  secretary  for  more 
than  twenty  years,  does  the  driving. 

May  Robson  was  born  near  Melbourne,  Australia,  on  April  19, 
1865.  Her  father  was  Captain  Henry  Robson  of  the  British 
Royal  Navy.  He  died  when  May  was  six,  and  she  was  sent  to 
the  Convent  of  the  Sacred  Heart  in  London.  As  no  young  girl's 
education  was  considered  complete  unless  she  spoke  Parisian 
French,  May  was  later  sent  to  the  Pension  Passy  in  Paris,  and  to 
a  branch  of  the  same  school  in  Brussels.  Her  life  was  extremely 
sheltered  but  very  happy,  because  Sister  Teresa  encouraged  in 
her  the  ambition  to  be  a  great  actress. 

A  A  AY  ROBSON  never  knew  poverty  or  privation  in  her 
■*■"  -*-youth.  She  had  perhaps  as  fine  a  classical  education  as  any 
actress  you  can  name,  and  she  fully  appreciates  it.  But  it  did 
not  make  the  way  any  easier  when  she  decided  to  go  on  the  stage. 
Many  people  did  not  consider  acting  a  suitable  career  for  a  young 
girl  in  those  days.    She  had  mountains  of  prejudice  to  conquer. 

From  school  she  returned  to  London — fell  in  love,  and  married 
E.  H.  Gore,  a  handsome  young  inventor.  They  crossed  to  New 
York,  established  a  home  there,  and  a  son  was  born.  E.  H. 
I  Gore,  Jr.  still  lives  in  the  same  home.  So  did  his  son,  Robson 
Gore,  until  his  marriage  a  few  years  ago.  A  baby  girl,  daughter 
of  Mr.  and  Mrs.  Robson  Gore,  has  been  christened  May  Robson 
II,  which  gives  May  Robson  the  honor  of  being  the  only  great- 
grandmother  in  pictures. 

It  was  very  daring  of  May  to  express  a  wish  to  divide  her  early 


Approaching  seventy,  May  Robson  is  today  one 
of  Hollywood's  busiest  stars.  With  her  picture 
making  she  finds  time  to  trade  recipes  with 
neighboring  housewives  and  tell  stories  to  all  the 
youngsters  on  the  block 


married  life  with  acting.  But  she  had  some  friends  in  the 
theater,  and  they  gave  her  the  first  boost.  One  day,  back- 
stage with  one  of  them,  she  heard  a  frantic  producer  grap- 
pling with  some  lines  in  French  which  an  actress  was  to 
speak.  Impulsively,  May  rushed  to  their  assistance.  May 
wound  up  with  two  parts  to  play,  [please  turn  to  page  113] 

67 


Here's  More 

Perfection 

For  You 


The  perfect  waist- 
line is  the  enviable 
possession  of  Jean 
Parker.  And  Sylvia 
tells  you  how  you 
may  achieve  a  sym- 
metry equal  to  hers. 
So  get  busy,  girls— 
and  you  ladies  fur- 
ther along  in  years 
can  do  it,  too 

70 


Margaret  Sullavan 
is  your  example  for 
perfect  hips.  She 
has  no  bulges  and 
no  bumps,  yet  none 
of  her  bones  shows. 
Follow  Sylvia's  ex- 
ercises and  diets, 
and  you,  also,  may 
have  the  same  ex- 
quisite contours 


Madame  Sylvia  is  "assembling" 
the  perfect  model  to  guide  you  in 
reshaping  your  figure.  Last 
month  she  selected  Grace  Moore's 
throat,  Norma  Shearer's  shoul- 
ders, and  Jean  Harlow's  bust. 
Now  she  adds  the  waistline,  hips 
and  abdominal  sculpture  for  the 
hypothetical  ideally  -formed 
'woman. 


Says  Sylvia 


WELL,  I  certainly 
started  something 
last  month  when  I 
began  to  set  a 
standard  of  beauty  by  picking 
out  the  perfect  bodily  features 
of  the  stars  and  telling  you  how 
to  perfect  yourselves.  I'm 
practically  snowed  under  with 
letters  from  all  my  girl  friends 
outside  the  profession.  You're 
all  asking  me,  "Who  has  per- 
fect arms?  Who  has  perfect 
legs,  feet,  hips,  etc.,  etc.?" 
Listen,  babies,  just  be  patient. 
Give  me  time  to  catch  my 
breath — a  good  deep  breath. 
I'll  get  around  to  it.  And  in 
the  meantime  remember  to  im- 
prove yourselves  from  day  to 
day,  little  by  little,  until  you're 
completely  satisfied. 

One  letter  gave  me  a  real 
thrill.  It  said,  "Ever  since 
I've  been  reading  your  articles, 
Sylvia  (and  I've  read  every 
word  you've  ever  written) ,  I've 
wanted  to  know  what  your 
ideals  are.  Now  you've  told 
me.  But  tell  me  more.  It 
gives  me  an  inspiration."  And 
let  me  tell  you,  letters  like  that 
give  me  an  inspiration. 

So  this  month  I'm  going  to 


pick  the  stars  who  have  the  most  beautiful  waistline,  hips  and 
abdominal  sculpture.  Take  them  as  your  basis  of  perfection 
and  then  do  what  I  tell  you  so  you  can  be  perfect,  too.  Are  you 
ready?    Then  here  they  are: 

THE  perfect  waistline?  You  guessed  it — little  Jean  Parker's. 
Yes,  I  know  she's  young,  but  that  doesn't  make  any  differ- 
ence. I've  seen  girls  in  their  teens  whose  waistlines  looked  swell 
when  they  had  on  their  clothes — but  put  them  in  bathing  suits 
— and  good  heavens!  what  sights  they  look!  Some  with  their 
rolls  of  fat  and  others  with  their  scrawny  waistlines.  Yes,  I  said 
scrawny.  The  waistline  is  one  of  the  parts  of  the  body  that 
needs  a  little  covering  of  flesh.  No,  I  don't  mean  a  spare  tire 
and  I  don't  mean  flabby  muscles.  I  mean  a  covering  of  nice 
firm  flesh.  And  that  goes  for  you  older  girls.  I  know  you'll 
squawk  and  say,  "I  had  a  nice  waistline  at  seventeen,  too." 
Well  take  it  from  me,  waistlines  can  begin  at  forty.  So  get  busy. 

Look  at  Jean  Parker.  She  has  a  perfectly  proportioned  body. 
I'll  admit,  and  her  waistline  inclines  on  the  long  side,  which  is 
right.  Another  thing  that  adds  to  the  beauty  of  it  is  that 
lovely  flatness  at  the  back  and  that  grand  length  between  her 
bust  and  waist.  And  when  Jean  Parker  puts  on  a  girdle  she 
hasn't  got  a  jelly-roll  of  fat  pushing  up  over  it. 

I  remember  how  thrilled  my  mother  was  because  she  had  a 
seventeen-inch  waist.  But  how  did  she  get  it?  By  hooking  her 
corset  strings  around  the  bed-post  and  walking  away  from  it. 
So  what  happened  to  the  flesh  that  was  rightly  at  the  waistline? 
You've  guessed  it.  The  flesh  rolled  out  of  the  top  and  below  the 
bottom  of  her  corset.  Isn't  it  grand  that  we're  so  much  more 
sensible  now?  Yet  even  today  we  do  things  to  ourselves — 
wrong  things — that  spoil  the  natural  symmetry  of  the  body. 

So  if  your  waistline  is  too  long  or  too  short,  conceal  it  by 
wearing  clothes  with  correct  lines.  Your  mirror  can  tell  you 
what  you  need  to  know  about  that.  Also  remember  to  make 
your  bust  firm  with  exercise  and  wear  a  good  brassiere  so  that 
your  bust  and  your  waistline  won't  roll  into  each  other.  That's 


Sylvia 


If  you  have  any 
questions  about 
health  or  bodily 
beauty,  write  to 
Sylvia.  See  her 
answers,  page  98 


Connie  Bennett  used  to  be 

Sylvia's   perfect   hip   model. 

But  no  more!    Bones  should 

not  protrude  sharply 


Joan  Crawford's  abdominal  sculpture 

is  something  for  you  to  strive  for.    She 

is  flat  in  front.    And  that's  essential  to 

beauty 


very  important.    And  then  you've  got  to  make  the  muscles 
in  your  back  firm  and  flat.    Here's  how. 

Place  your  feet  about  six  inches  apart,  with  the  toes 
straight  out  in  front.  Don't  move  your  feet.  Don't  bend 
your  knees.  Arms  above  your  head.  Twist  and  bend  your 
body  until  your  finger-tips  touch  the  floor  as  far  out  as 
you  can  reach  and  slightly  to  the  right.  Do  you  feel  the 
waistline  muscles  pulling,  particularly  that  one  at  the  back? 
Repeat  on  the  left  side.  Start  by  doing  this  ten  times  a 
day  and  work  up  to  twenty.    [  please  turn  to  page  98  ] 


_ 


71 


Select  Your    Pictures    and    You    Won't 


* 


THE  PAINTED  VEIL—M-G-M 


GARBO  is  Garbo — forever.  And  lighted  by  her  magic 
presence  this  Somerset  Maugham  story  is  distinguished 
and  powerful  on  the  screen.  She  has  seldom  been  more  real 
or  compelling  than  in  the  tragic  role  of  the  girl  who  goes  with 
her  doctor  husband  (Herbert  Marshall)  to  China,  there 
realizes  a  consuming  passion  for  another  (George  Brent), 
suffers  the  heartbreak  of  his  disappointment,  and  then  dis- 
covers a  love  greater  than  passion  for  her  husband  amid  a 
cholera  epidemic.  Director  Richard  Boleslawski  has  cap- 
tured a  tremendous  movement  and  tense  realism  in  his 
climactic  scenes,  but  in  others  a  vagueness  hampers  the 
film's  meaning.  Marshall  is  as  polished  as  usual.  Brent  plays 
his  scenes  convincingly  and  with  warmth.  Jean  Hersholt,  For- 
rester Harvev  and  Cecilia  Parker  distinctive  in  small  roles. 


* 


THE  WHITE  PARADE— Fox 


BLESSED  with  fine  acting  and  superb  direction,  here  is  a 
picture  you'll  long  remember.  Against  a  hospital  back- 
ground which  is  at  all  times  genuine  and  human  are  por- 
trayed the  good  times,  the  bad  times,  the  dreams  and  ideals 
of  a  group  of  girls  in  nurses  training.  Loretta  Young,  giving 
the  best  performance  in  her  career,  stands  out  in  the  group. 

A  Cinderella  love  story  threads  through  the  picture,  with 
John  Boles,  wealthy  play-boy,  as  the  Prince  Charming  and 
Miss  Young  his  desired.  Jane  Darwell,  as  the  soft-hearted 
head  nurse  who  must  be  stern,  is  outstanding.  The  entire 
supporting  cast,  particularly  Sara  Haden,  Muriel  Kirkland 
and  Dorothy  Wilson,  is  excellent. 

It's  a  beautiful,  a  heart-stirring  picture  which  keeps  you 
trembling  between  tears  and  laughter. 

72 


The 


Shadow 


A  Review  of  the  New  Pictures 


ik 


KID  MILLIONS— Samuel  Goldwyn- United  Artists 


HERE  is  a  hit  and  a  long  run  picture — a  Cantor  extrava- 
ganza complete  with  hilarious  situations,  gorgeous 
settings,  catchy  tunes  and  a  grand  cast. 

Eddie,  a  poor  and  homeless  lad,  learns  he  has  inherited 
from  his  father  a  treasure  worth  millions  which  he  must  go 
to  Egypt  to  collect.  Sailing  on  the  same  boat  are  torch 
singer  Ethel  Merman,  posing  as  his  long-lost  mother;  her 
thug  boy-friend,  Warren  Hymer,  pretending  to  be  his  Uncle 
Louie;  and  Berton  Churchill,  unscrupulous  Southern  gentle- 
man, all  planning  to  cheat  Eddie  out  of  the  fortune.  The 
attempts  to  bump  him  off  on  shipboard  are  hilariously  un- 
successful. 

Once  in  Egypt  things  happen  fast  and  funny.  Eddie's 
scenes  with  Sheikess  Eve  Sully  are  side-splitting. 

Eventually  Eddie  (now  Eddie  Bey)  escapes  with  the 
treasure,  and  returns  home  keeping  his  promise  to  all  the 
poor  children  in  the  neighborhood  to  build  them  an  ice  cream 
factory.  The  final  sequence,  with  the  youngsters  making 
merry  in  the  ice  cream  plant,  is  in  Technicolor,  and  you've 
never  seen  anything  lovelier  on  the  screen.  It's  truly  an 
inspired  wind-up. 

The  love  songs  in  the  picture  are  sung  by  Ann  Sothern 
and  George  Murphy,  as  sweet-singing  a  twosome  as  you've 
ever  heard.  "  Kid  Millions"  is  an  earful  and  an  eyeful,  and 
you'll  be  humming  the  tunes  and  repeating  the  gags  for  days. 


Have    to    Complain    About    the    Bad    Ones 


The  Best  Pictures  of  the  Month 


KID  MILLIONS 

THE  PAINTED  VEIL 

GREAT  EXPECTATIONS 

EVELYN  PRENTICE 

THE  CAPTAIN  HATES  THE  SEA 


BROADWAY   BILL 

THE  WHITE  PARADE 

MUSIC  IN  THE  AIR 

COLLEGE   RHYTHM 

FLIRTATION  WALK 


The  Best  Performances  of  the  Month 

Greta  Garbo  in  "The  Painted  Veil" 

Eddie  Cantor  in  "Kid  Millions" 

Myrna  Loy  in  "Broadway  Bill" 

Loretta  Young  in  "The  White  'Parade" 

Jane  Darwell  in   "The  White  Parade" 

Myrna  Loy  in  "Evelyn  Prentice" 

William  Powell  in  "Evelyn  Prentice" 

Florence  Reed  in  "Great  Expectations" 

Jack  Gilbert  in  "The  Captain  Hates  the  Sea" 

Victor  McLaglen  in  "The  Captain  Hates  the  Sea" 

Warner  Baxter  in  "Hell  in  the  Heavens" 

Joe  Penner  in  "College  Rhythm" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  122 


* 


BROADWAY  BILL— Columbia 


DOTTED  with  unforgettable  moments,  this  is  a  grand 
picture.  The  story  is  of  Warner  Baxter,  who  breaks 
away  from  the  dull  task  of  making  paper  boxes  under  the  dom- 
ineering fingers  of  his  wife,  Helen  Vinson,  and  her  father, 
Walter  Connolly,  and  stakes  his  future  on  a  gallant  race 
horse,  Broadway  Bill. 

Everything,  except  Myrna  Loy,  seems  to  plot  against  his 
winning — living  in  a  ramshackle  stable,  unable  to  raise  money 
for  the  entrance  fee,  Broadway  BUI  catching  cold  during  an 
endless  rain  storm,  a  crooked  jockey. 

When  the  race  is  finally  run,  for  sheer,  unbearable  ex- 
citement it  should  end  all  horse  races  on  the  screen.  Nothing 
so  tremendous  could  ever  be  repeated.  The  story  leads  up 
beautifully  to  such  a  dizzy  height  of  emotional  relief  that 
you  will  rise  and  cheer  furiously  at  that  wonderful  horse, 
Broadway  Bill. 

Director  Frank  Capra  executes  a  miracle  of  timing  and 
direction,  and  the  entire  cast  has  lifted  the  picture  to 
dramatic  excellence. 

Myrna  Loy's  performance  is  distinctly  memorable.  And 
Clarence  Muse,  Raymond  Walburn  and  Harry  Todd  are 
stand-outs.    Baxter's  work  is  extraordinarily  effective. 

Those  who  love  horses  will  be  particularly  enthralled  with 
this  movie.  It  is  a  Capra  picture,  and  a  racing  picture,  and 
a  good  picture. 


dr 


GREAT  EXPECTATIONS— Universal 


WHERE  has  Dickens  been  all  this  time?  Or  possibly, 
where  have  the  studios  been?  Here  is  superb  movie 
material. 

This  is  the  story  of  the  orphan  boy,  Pip,  (admirably 
played  as  a  child  by  George  Breakston,  later  by  Phillips 
Holmes),  and  his  love  for  Eslella  (Jane  Wyatt),  adopted 
daughter  of  the  eccentric  Miss  Havisham  (Florence  Reed) 
who  took  the  orphan  boy  into  her  weird  home. 

The  story  unfolds  with  interest  and  mystery,  and  is 
clearly  delineated  on  the  screen.  Florence  Reed  gives  an 
outstanding  performance,  as  does  Henry  Hull. 

Alan  Hale,  Rafaela  Ottiano,  Francis  L.  Sullivan  and  the 
rest  of  the  large  cast  are  more  than  equal  to  their  roles,  and 
the  result  is  a  fine  and  worthwhile  production. 


* 


MUSIC  IN  THE  AIR— Fox 


IN  THIS  charming  musical,  gay  with  laughter  and  rich 
with  song,  Gloria  Swanson  returns  to  the  screen.  With  a 
fine  sense  of  comedy  she  portrays  Frieda,  tempestuous  opera 
star  in  love  with  her  leading  man,  Bruno  (John  Boles). 

Miss  Swanson's  voice  may  not  be  adequate  as  a  foil  for 
that  of  Boles.  But  their  scenes  together — their  violent 
quarrels  and  ecstatic  reconciliations — are  so  amusing  and 
spontaneous  that  this  possible  fault  is  offset. 

Charming,  too,  are  the  bewildered  Bavarian  villagers, 
Karl  (Douglass  Montgomery)  and  his  sweetheart,  Sieglindc 
(June  Lang)  and  her  father,  Dr.  Lessing  (Al  Shean),  who 
have  come  to  Munich  to  hear  Frieda  sing. 

Altogether  it's  a  delightful  adaptation  of  the  operetta, 
with  Jerome  Kerr's  fine  score  given  its  full  value. 

73 


The   National   Guide   to   Motion    Pictures 


'REG.  II.  S.  PAT  OFF.) 


ft 


EVELYN 

PRENTICE- 

M-G-M 


* 


COLLEGE 

RHYTHM— 

Paramount 


THAT  ace  of  teams,  William  Powell  and  Myrna  Loy,  score 
another  hit!  In  deeply  human  roles  they  bring  a  rare  sense 
of  reality  to  the  characters:  Myrna  as  the  wife  who  thinks  she 
has  murdered  a  man,  Powell  as  Myrna's  lawyer  husband  hired 
to  defend  Isabel  Jewell  who  is  accused  of  the  murder.  Miss 
Jewell  makes  cinema  history  in  a  short  courtroom  scene.  Una 
Merkel  and  Harvey  Stephens  give  grand  support. 


GET  ready  with  a  sis  boom  rah  for  another  bright  and  tune- 
ful collegiate  musical  with  football  star  Jack  Oakie  steal- 
ing girl  friend  Mary  Brian  from  Lanny  Ross,  and  Joe  Penner 
adding  gales  of  laughter.  A  wow  is  Joe,  and  no  mistake! 
The  music  is  catchy,  the  comedy  hilarious,  and  the  climax 
hysterical  with  the  nuttiest  football  game  ever  played.  Helen 
Mack,  Lyda  Roberti,  George  Barbier,  help  greatly. 


* 


THE 

CAPTAIN 
HATES  THE 
SEA— 
Columbia 


& 


FLIRTATION 
WALK— 
First  National 


FOR  the  grandest  trip  of  your  life  board  the  ship  commanded 
by  Walter  Connolly,  a  Captain  who  really  hates  the  sea. 
On  board  you'll  meet  John  Gilbert,  tippling  reporter,  Victor 
McLaglen,  detective,  Tala  Birell  at  her  most  gorgeous,  and 
a  whole  boat  load  of  favorites.  The  story  sails  smoothly,  with 
bright  dialogue,  good  comedy,  and  strong  direction  by  Lewis 
Milestone.    A  man's  picture  no  woman  will  want  to  miss. 


THE 

FIREBIRD— 

Warners 


THE  colorful  background  of  West  Point,  the  double  barrellec 
charm  of  Dick  Powell  and  Ruby  Keeler,  and  the  sensitive 
human  directorial  touch  of  Frank  Borzage  make  this  a  granc 
parade  of  entertainment.  Pat  O'Brien  plays  the  tough 
knuckled,  sentimental  sergeant  to  perfection.  Ross  Alexande; 
scores  as  Dick's  pal.  Bring  the  whole  family — and  perhaps; 
handkerchief  for  the  final  scenes. 


KENTUCKY 
KERNELS— 
RKO- Radio 


THIS  exquisitely  wrought  picture  is  proof  that  the  movies 
have  grown  up.  The  story  is  of  Ricardo  Cortez,  an  actor 
who  tries  to  ensnare  Verree  Teasdale,  wife  of  Lionel  Atwill, 
into  a  love  trap.  Verree  spurns  him,  but  her  young  daughter, 
Anita  Louise,  is  caught  in  the  web,  when  Cortez  is  killed. 
Here  is  splendid  adult  screen  entertainment,  magnificently 
acted.     Anita  Louise  gives  an  outstanding  performance. 

74 


LEAVE  your  superiority  complex  at  home  and  indulge  ij 
unrestrained  mirth  at  the  most  absurd  antics  of  Wheele 
and  Woolsey.  As  custodians  of  a  young  heir,  Spanky  McFa 
land— who  is  alone  worth  the  price  of  admission— they  go  dow 
to  Kentucky  and  get  mixed  up  in  a  feud,  with  moonshine  an 
roses  and  phony  Southern  accents.  Mary  Carlisle  and  Noa 
Beery  add  to  the  merriment.     You'll  have  a  good  time. 


Saves  Yo  ur   Picture    Time    and    Money 


THE  ST. 
LOUIS  KID— 
Warners 


hell  in  the 
heavens- 
Fox 


A  STORY  as  fast,  breezy  and  active  as  James  Cagney  him- 
self puts  this  one  well  out  in  front.  Jimmy,  a  peppery 
truck  driver,  talks  up  a  milk  strike  in  a  country  town  and  then, 
with  his  buddy,  Allen  Jenkins,  has  to  run  the  gauntlet  of  en- 
raged farmers  with  a  milk-laden  truck.  You  should  see  Jimmy 
sock  'em  with  his  head.  Romantic  prize  is  Patricia  Ellis. 
Definitely  prescribed  for  Cagney  admirers. 


GOOD  acting,  and  a  plot  that  is  different  make  this  a  picture 
of  merit.  It's  the  story  of  a  French  air  unit,  quartered 
near  the  German  lines.  Warner  Baxter,  as  an  American 
aviator,  tops  an  excellent  cast  which  includes  Russell  Hardie, 
Ralph  Morgan,  Andy  Devine  and  Herbert  Mundin.  Conchita 
Montenegro  is  the  only  feminine  influence  in  this  very  mas- 
culine picture  which  can't  fail  to  grip  your  interest. 


GENTLEMEN 
ARE  BORN— 

First  National 


LITTLE 
FRIEND— 
Gaumont- 
British 


FRANCHOT  TONE  gives  his  most  able  performance  to  date 
in  this  modern  story  of  four  pals  just  out  of  college,  strug- 
gling to  place  themselves  in  their  professions.  Nick  Foran,  as 
Smudge  is  good,  and  the  other  major  parts,  played  by  Jean 
Muir,  Ross  Alexander,  Margaret  Lindsay,  Ann  Dvorak  and 
Robert  Light,  are  convincing.  In  spite  of  its  trend  of  hope- 
lessness, you'll  enjoy  this  picture,  for  it  is  real. 


ADD  this  one  to  the  list  of  British  productions  that  are 
making  American  producers  look  to  their  laurels.  Simply 
and  convincingly  told,  it's  the  tragic  story  of  a  child  whose 
happiness  and  security  at  home  is  suddenly  shattered  by  her 
parents'  divorce  and  subsequent  court  actions  for  her  custody. 
Nova  Pilbeam,  English  child  star  of  the  picture,  gives  a  beauti- 
ful performance. 


ANNE  OF 
GREEN 
GABLES— 
RKO- Radio 


MAN  OF 
ARAN— 
Gaumont- 
British 


A  FAITHFUL  and  sympathetic  screen  adaptation  of  the 
novel  makes  this  an  enjoyable  picture,  suitable  for  the 
whole  family.  The  cast  is  good,  with  Anne  Shirley  in  the 
title  role  of  the  orphan  adopted  by  kindly  Matthew  Cuthbert 
{0.  P.  Heggie)  and  his  sister  Manila  (Helen  Westley).  Tom 
Brown,  Sara  Haden,  Hilda  Vaughn,  are  all  excellently  cast. 
Well  directed.     Romance,  humor,  and  pathos  well  balanced. 


MAGNIFICENT  in  its  beauty,  here  is  a  saga  of  the  fisher- 
folk  who  live  on  the  rocky  Aran  Islands,  off  the  coast  of 
Ireland.  The  film  has  no  plot.  Its  purpose  is  to  tell  the  story 
of  people  who  must  battle  with  the  sea  for  a  bare  existence. 
One  can  easily  understand  why  this  picture  received  the  Mus- 
solini cup  as  the  most  beautiful  film  of  the  year. 

[  ADDITIONAL   REVIEWS   ON   PAGE    120  ] 

75 


H1 


'ELLO,  Jimmy, 
how  are  you?  " 

Ask  him  that 
question,  and  Mr. 
Savo  will  answer,  "Oh,  I  can't 
kick,  I  have  a  sore  foot." 

Or,  "Just  like  a  stove  — 
grate!" 

Or,  "Like  a  bundle  of  wood.    I'm  all  broken  up." 

Then  he'll  smile  ingratiatingly  and  say,  "I'll  bet 
you  won't  like  me  any  more — after  that  last  one!" 

But  you  will.  All  Broadway  has,  for  the  past 
twenty  years.  And  Jimmy  Savo  has  been  making 
terrible  puns  and  groan-provoking  jokes  since  he 
first  learned  to  talk. 

He  takes  off  his  hat,  looks  at  it  a  moment,  and 
comments,  "I  like  to  wear  a  derby.  They  seem 
musical  to  me.  On  account  of  the  band,  I  guess. 
And  I  wear  a  fur  coat  and  a  palm  beach  suit  most 
of  the  time,  too.  Then,  no  matter  what  the 
weather  is,  I'm  always  comfortable.  By  the  way, 
do  you  know  who  wears  the  biggest  hat  in  the 
world?  Give  up?  The 
man  with  the  biggest 
head!" 

At  this  point 
Charlie  MacArthur 
groans  and  says, 
"That's  the  sort  of 
thing  Hecht  and  I 
were  afraid  of  when 
we  asked  Jimmy  to 
play  the  lead  in  our 
picture,  'Once  in  a 
Blue  Moon.'  And  we 
have  the  guy  under  con- 
tract, too!" 

"Aw,  that's  all  right, 
Charlie."  Jimmy  pats  his 
director  on  the  shoulder. 
"Cheer  up!  I'll  sing  you  a  little 
song  entitled,  'Don't  Throw 
Spinach  At  Me;  There's  Iron 
In  It!'  Oh,  you've  heard  that 
one?  You  don't  like  it?  Well, 
then,  Charlie,  how  about  the 
little  ditty, '  She  Used  To  Be  A 
School-teacher,  But  She  Lost 


All  the  World's 


His  Stooge 


Introducing  Jimmy  Savo,  the 
King  of  Clowns!  But  don't  say 
a  word.  If  you  do,  he's  sure 
to  make  a  stooge  of  you,  too 


By  Mildred  Mastin 


Her  Class.'    No?    Very  unmusical 
man,  Mr.  MacArthur.    Come  on 
out,  Charlie,  I'll  buy  you  a  drink." 
At  the  bar  Jimmy  orders  cheer- 
fully, "Give  me  a  bird  cocktail. 
You  don't  know  what  it  is? 
Why,  a  couple  of  swallows." 
Or,   "I'd   like   a   Scotch 
drink — a  glass  of  water  with 
a  nickel  in  it." 

During  this,  Mr.  Mac- 
Arthur  is  standing  at  the 


Here's  Savo,  telling 
his  horse  a  joke  about 
nightmares.  A  patient 
beast,  horsie  usually 
starts  kicking  after 
the  third  or  fourth 
pun  by  Jimmy 


"Hello,  there,  how 
are  you?"  Don't  ask 
Savo  the  same  ques- 
tion unless  you're 
quite  willing  to  be  a 
stooge  for  the  little 
comedian 


76 


On  the  set  of  "Once 
in  a  Blue  Moon," 
Mr.  Savo  has  just 
asked  Edwina  Arm- 
strong a  question. 
She'll  be  his  stooge 
soon 


,:jCi 


i  *a*^*~ 


other  end  of  the  bar, 
pretending  he  isn't  with 
Mr.  Savo,  trying  not  to  listen. 

"Have  anything  you  want, 
Charlie,"  Jimmy  yells  at  him.     "Any- 
thing but  champagne.     I  can't  bear  to 
hear  a  champagne  bottle  opened.  Makes 
me  homesick.    I  think  of  pop." 

There's  still  no  response,  no  recogni- 
tion, from  Mr.  MacArthur.  So  Jimmy 
explains  smilingly,  "  Charlie  doesn't  like 
jokes  like  that.  He's  an  ex-reporter,  you 
know.  Appreciates  old  riddles  like 
what's  black  and  white  and  red  all 
over?  Don't  guess.  The  answer  is,  a 
■newspaper. 

"  MacArthur  threw  a  bottle  at  me  — 
\'es,  an  empty  one — the  day  I  asked  him 
•vhat  gives  more  milk  than  a  cow.  The 
mswer,  of  course,  is  two  cows.  Made 
lim  sore,  too,  when  I  told  him  I  saw 
ifteen  men  all  under  one  umbrella  and 
ione  of  them  got  wet.  Charlie  said,  'It 
nust  have  been  a  big  umbrella.'  'No,' 
explained,  'it  wasn't  raining.'  Made 
lim  mad.  I  guess  he's  jealous.  Waiter, 
;ive  Mr.  MacArthur  another  drink." 


*SS8r 


Jimmy  tells  the  dove  what  a 

bird    cocktail    is.      And    his 

feathered  friend's  answer  is 

"Cheap,  cheap" 


But  MacArthur's 
silent  disapproval  doesn't 
worry  Mr.  Savo.  For,  when 
Charlie  doesn't  laugh  he  is  dis- 
tinctly in  the  minority.  Everybody  else 
laughs  at  a  Savo  joke.  Maybe  you 
heard  it  before.  Maybe  it  is  a  terrible 
pun.  But  with  a  comical  Savoesque 
gesture,  it's  screamingly  funny.  And 
Jimmy,  known  as  the  king  of  pantomim- 
ing comedians  on  Broadway  for  many 
years,  can  throw  a  theaterful  of  people 
into  paroxysms  of  laughter  simply  by 
counting  to  ten! 

Strangely  enough,  Savo  didn't  know 
he  was  funny  until  he  had  been  enter- 
taining audiences  for  a  long  time.  Like 
W.  C.  Fields,  he  began  his  theatrical 
career  as  a  juggler,  not  a  comedian.  The 
juggling  started  when,  at  the  age  of 
eight,  he  and  his  brother  watched  a  man 
on  a  New  York  street  corner  juggling 
lighted  torches.  Using  small  stones, 
Jimmy  tried  to  copy  the  trick  arjd  soon 
perfected  it.  For  the  amusement  of  the 
youngsters  in  the  block  he  performed, 

[  PLEASE  TURN  TO  PAGE  108  ] 

77 


A  Starred  Christmas 

Gift  Premiere 
From  Hollywood 


CAROLYN  VAN  WYCK  has  turned  detective  and  for  the  last 
few  weeks  has  snooped  around  Hollywood  and  New  York  like 
nobody's  business,  in  an  effort  to  forecast  what  the  stars  will  be 
giving  for  Christmas  this  year,  for  the  benefit  of  you,  my  readers. 
My  explorations  were  full  of  adventure.  Around  a  corner  might 
come  Norma  Shearer,  glowing  like  an  Autumn  leaf,  trim  and  chic  in 
the  smartly  tailored  street  clothes  she  affects,  her  eyes  twinkling 
merrily  about  a  mysterious  armful  of  packages.  Or  Marlene 
Dietrich,  her  blue  eyes  and  golden  hair  like  sunbeams,  lifting  those 
strange  brows  slightly  when  questioned.  Or  any  of  those  hundreds 
of  lovely  players  that  make  Hollywood  the  center  of  the  world's 
beauty  and  charm,  some  of  whom  we  corraled  straight  to  the  studio 
to  pose  for  you.  But  to  one  of  my  young  pets,  Rochelle  Hudson, 
should  go  the  biggest  of  Christmas  trees,  the  fullest  of  stockings  and 
the  nicest  of  gifts,  because  Rochelle  took  time  and  patience  to  have 
a  tree  decorated  as  she  thinks  one  should  be,  to  have  packages 
wrapped  and  tied  to  make  them  look  appealing  and  enchanting  as 
all  gifts  should  look,  whether  they  happen  to  contain  the  rarest  of 


Joan  Bennett  has  chosen  a  very  new  perfume  for  a 

gift.     It  is  a  luxurious  fragrance,  of  South  Sea  island 

inspiration,  in  a  flacon  of  clouded  glass  with  black 

and  gold  lacquer-like  cover 


A  choice  in  compacts  by 
Glenda  Farrell.  In  left 
hand  is  a  modern,  color- 
ful affair  holding  I  ip- 
stick,  powder  and  rouge. 
In  right  is  an  enameled 
squarish  design,  richly 
colored,  double,  with 
loose  powder  and  rouge. 
Grand  gift  ideas 


Rochelle  Hudson  is  wide- 
eyed  in  anticipation  of 
that  Christmas  package. 
If  the  contents  are  as 
grand  as  the  wrappings, 
Rochelle,  all  will  be  very, 
very  merry.  Make  your 
remembrances  look  gay 
and  gifty  with  holiday  pa- 
pers and  ribbons  and 
amusing  tags 


78 


Dolores  Del  Rio  exhibits  one  of  the  newest  Holly- 
wood   and    Paris   fashions,    mirror   accessories   for 
your  evening  bag.     Here  is  a  lustrous  compact  of 
inlaid  mirrors  with  down  puff 


A  gift  gadget  that  many  a 
girl  will  welcome  for  her 
bag  is  a  purse  perfume 
case  in  platinum  tone  with 
red  and  black  accents. 
Protects  and  prevents 
spillage,  and  comes  filled 
in  any  of  ten  favorite  fra- 
grances. Judith  Allen 
suggests  this  gift 


Complete  treatment  and 
make-up  kits  fill  your 
stockings  with  delight. 
Evelyn  Venable,  appear- 
ing in  "Mrs.  Wiggs  of  the 
Cabbage  Patch,"  is  en- 
thusiastic about  this  com- 
pact arrangement  contain- 
ing everything  that  makes 
you  well  groomed  and 
beautiful 


PHOTOPLAY'S    HOLLYWOOD 

BEAUTY  SHOP 

All  the  beauty  tricks  of  all  the  stars  brought  to  you  each  month 

Conducted   By  Carolyn  Van  Wyck 


perfumes  or  a  practical  little  thought  like  hair  pins  designed  for  your 
special  needs  and  the  color  of  your  hair. 

So  take  a  lesson  from  Rochelle,  and  invest  in  gay  papers,  ribbons 
and  cards  to  make  your  thought  look  like  a  gift,  not  a  mere  package. 
The  sentiment  on  your  cards  is  important,  because,  with  a  little  care 
on  your  part,  you  can  hand  the  recipient  a  laugh  as  well  as  a  gift. 
And  a  happy  laugh  is  always  a  true  gift. 

The  stars  like  to  give  beauty — gifts  that  are  beautiful  in  them- 
selves and  that  will  make  you  more  beautiful.  Perhaps  this  ten- 
dency is  largely  due  to  the  fact  that  these  girls  have  learned  the 
value  of  beauty  or  what  passes  for  beauty.  The  compact,  for 
example,  which  adds  thrill  and  color  to  your  street  or  evening  bag. 
Perfumes,  whose  inspirational  value  can  never  be  over-estimated. 
Irene  Dunne  will  frankly  tell  you  that  the  scent  of  perfume  once 
saved  her  from  a  bad  attack  of  stage  fright.  Powders,  treatment 
and  make-up  kits,  bath  accessories,  the  list  goes  on.  So  for  every 
girl  confronted  with  a  gift  problem,  I  think  I  may  safely  advise,  give 
beauty.    It  is  lasting,  inspiring,  beautiful. 


79 


HOLIDAY  SHOPPING 
WITH  BENITA  HUME 
AROUND   NEW  YORK 


After  Benita  Hume  com- 
pleted "The  Private  Life 
of  Don  Juan,"  we  joined 
her  on  a  shopping  tour. 
One  of  her  purchases 
was  a  flacon  of  pine 
bath  essence,  in  a  pine- 
needle  green  bottle 
dressed  up  with  gold 
banding  and  seal.  Di- 
vinely exhilarating  in 
•  your  bath 


Spraying  your  fabric  gloves 
with  perfume  is  another  of 
lenita's  ideas.  A  fragrance 
to  titivate  the  imagination 
is  enclosed  in  that  inspired 
flacon  studded  with  crystal 
sparks.    Very  elegant 


A  quartette  of  Parisian  per- 
fumes also  snared  Benita.  A 
foursome,  all  of  which  you 
will  adore.  That  ultra-smart 
box  in  sky-scraper  pattern 
looks  very  sophisticated  and 
charmingly  amusing 


Fur  toques  are  a  new  target  for  your  favorite 
perfume.    It  lingers  appealingly  on  fur.    Benita 
is  spraying  hers  with  a  fragrance  reminiscent 
of  Paris,  from  a  smart  atomizer 


WHEN  Benita  Hume  finished  "The 
Private  Life  of  Don  Juan,"  she  began  a 
vacation,  stopping  in  New  York  to  look  over 
the  shops.  From  a  shopping  expedition  she 
came  straight  to  the  studio  to  show  you  some 
of  the  things  she  had  bought.  You  can  see 
that  Benita  has  a  penchant  for  perfume.  I'll 
tell  you  all  about  her  gifts,  names,  prices, 
details,  if  you'll  write  to  me,  or  any  of  the 
other  ideas  shown  in  these  pages. 

Benita,  in  my  opinion,  is  one  of  the  most 
beautiful  players.  Her  gray  ribbed  wool  frock 
and  gray  astrakhan  toque,  with  ruby-like  clip, 
were  perfect  backgrounds  for  her  rich  brown 
hair  and  velvety  brown  eyes. 

All  of  my  pictures  seem  to  fill  the  bill  for  the 
ladies  of  our  families  and  acquaintance,  young 
and  not  so  young,  but  we've  neglected  the 
men  and  the  very  young  generation. 

One  of  this  season's  offerings  is  a  very  new 
perfume  for  men.  Don't  be  too  surprised.  It 
is  not  the  alluring,  charming  essence  which  we 
like  to  waft  as  we  walk,  dance  or  sit.  Instead, 
it  is  essentially  masculine  and  refreshing, 
denoting  just  that  note  of  immaculacy  and 
thought  that  we  like  in  our  sweethearts,  hus- 
bands and  friends.  I  think  most  men  will  be 
pleased  to  find  that  world-famous  chemists 
have  at  last  concocted  for  them  an  essence 
that  is  appropriate,  masculine  and  in  perfect 
taste. 

If  you  have  little  sisters  or  nieces  running 
about,  my  best  suggestion  for  them  is  a  small 
manicure  kit.  You  can  buy  good  ones  from 
fifty  cents  up,  and  I  suggest  this  for  an  im- 
portant reason.  The  very  sophistication  and 
grown-upness  will  please  immensely,  but  the 
point  is  that  it  is  the  best  means  in  the  world 


80 


A  STOCKINGFUL 
OF  IDEAS  FROM 
YOUNG    PLAYERS 


Florence   Rice   approves   of   this   combination 

that   gives   you    both    perfume   and    atomizing 

device    in    the    same    package.     A    romantic 

concoction  that  lingers  in  memory 


J)f  overcoming  grimy  and  nail-biting  habits, 
fhe  manicure  kit  is  a  perfect  idea  for  the 
!;rown-up,  too.  Even  if  you  go  in  for  profes- 
■ional  manicures,  the  kit  is  necessary  and  will 
k>  worlds  of  good  between  manicures. 
>■  The  basic  treatment  boxes  are  always  wel- 
bme.  Creams  and  lotions  should  work  to- 
ether,  and  it  is  wiser  to  use  especially  face 
reams  and  lotions  by  the  same  maker. 
Sesides,  the  kit  idea  often  introduces  you  to 
ame  grand  preparation  that  ordinarily  you 
•light  not  know  about  or  think  that  you 
eeded. 

The  same  is  true  of  make-up  combinations. 
:ouge  and  lipstick  should  be  in  the  same  tone. 
I  number  of  manufacturers  have  worked  out 
erfect  tone  combinations  in  these  beauty 
>uches. 

Who  ever  has  enough  bath  accessories, 
owders,  eaux  de  Cologne,  bath  scenting  and 
oftening  preparations?  Any  or  all  are  grand 
'ft  ideas.  Most  of  them  come  in  charming, 
y  packages  especially  for  the  Christmas 
ason,  that  add  a  note  of  luxury  to  your  pur- 
iase,  no  matter  how  simple.  June  Clay- 
orth's  choice  is  worth  a  second  look.  A 
inning  cabinet  in  white,  washable  composi- 
pn,  accented  with  red,  containing  just  what 
ery  woman  would  adore,  bath  essence,  eau  de 
jlogne,  powder  and  soap.  The  cabinet  sets 
hangs,  as  you  wish. 

I  never  pass  up  the  permanent  wave  idea  at 
iristmas  if  you  want  to  go  in  for  a  bit  more 
a  gift.  Mothers,  even  grandmothers,  espe- 
illy  adore  this  gift.  It  is  one  of  those  lasting, 
mforting  and  beautifying  suggestions.  Or 
generous  blow  to  a  facial  or  two  or  several 
and  manicures  has  a  very  uplifting  effect. 


An  attractive  and  prac 
tical    make-up  ensemble 
is  shown  by  Ruby  Keel 
The  idea  of  make-up 
combination  is  advisable 
because  it  gives  you  ha 
monious   and    relatec 
tones.  A  thought  for  the 
girls  whose  color  pref 
erence  you  know  or  car 
choose,    wisely.      The 
will  like  twins 


For  the  evening,  Kitty  Car- 
lisle, now  appearing  in 
"Here  Is  My  Heart,"  sug- 
gests a  good-looking  com- 
pact and  cigarette  case  com- 
bined in  black  and  white. 
Sophisticated 


Something  to  get  excited 
about,  thinks  June  Clay- 
worth.  A  bath-room  cabi- 
net holding  eau  de  Co- 
logne, bath  essence,  bath 
powder  and  soap.  White 
and  gay  red 


81 


Bert  Longworth 


A  NOTHER  starring  combination,  Paul  Muni  and  Bette  Davis.  These  two 
-^V Warner  luminaries  will  be  seen  together  for  the  first  time  in  "Bordertown," 
which  will  be  released  very  soon.  You'll  easily  recall  the  hilarious  performance 
of  Muni  in  his  previous  picture,  "Hi,  Nellie!"    Bette 's  latest  was  "Housewife" 


82 


Tom  Meighan 
Is  Restless 


The  man  with  the  million 
dollar  personality  smile 
has  an  idea.  When  he  has, 
then  step  lively,  World! 

By  Walter  D.  Shackleton 


IF  you  had  one  pala- 
tial home  in  the  ex- 
clusive Great  Neck 
section  of  Long 
Island,  whose  broad  ex- 
panse of  lush  lawn 
fronted  on  the  Atlantic. 
And  if  you  had  another 
in  sunny  Florida.  And 
if  you  enjoyed  outdoor 
games  by  day  and 
bridge  by  night.  And 
if  you  had  a  host  of  gay, 
intelligent,  congenial 
friends  to  enjoy  all  these 
things  with.  And,  more 
to  the  point,  if  you  had 
a  plump  purse  to  main- 
tain such  an  existence, 
would  you  be  apt  to  get 
restless  with  a  desire  to 
do  a  gruelling  piece  of 
work?  No  need  to  an- 
swer. I  can  readily  vis- 
ualize the  scoffing 
snickers  the  question 
caused. 

But,  believe  it  or  not, 
there  is  such  a  person. 
Thomas  Meighan. 

Tom  is  restless  again. 
Fresh  from  the  success 
of  his  "  Peck'  s  Bad 
Boy,"  he  wants  to  leap 

right  into  another  screen  story  with  all  that  stimulating  vitality 
and  vigor  of  his. 

And  what  is  more,  he's  going  to  do  it.  You  can't  stop  him. 
When  he  gets  an  idea,  you  can't  stop  Thomas  any  more 
than  Thomas  can  stop  that  Atlantic  tide  from  ebbing  and 
flowing  at  the  foot  of  his  Great  Neck  dooryard,  or  prevent 
Florida  from  getting  a  devastating  gale  ever  so  often.  Or,  let 
us  say,  no  more  than  Tom  can  help  his  great  smile  from  warm- 
ing the  deepest  cockle  in  the  heart  of  anyone  it  is  turned  on. 
Meighan's  smile  is  one  of  the  most  potent  and  captivating  ever 
flashed  in  this  vale.  It  is  a  million  dollars  worth  of  personality. 
And  the  best  of  it  is  its  sincerity — good  honest  value  in  it. 
However — about  the  restlessness  of  Mr.  Meighan.    His  rest- 


Tom  Meighan 
again  is  in  Holly- 
w  o  o  d  —  w  i  t  h 
another  big  yarn 
in  his  mind.  He 
craves  action  and 
he'll  get  it! 


lessness  is  always 
directed.  It  is 
thoughtful,  not 
hit  or  miss.  No, 
indeed.  You 
don't  know  your 
Tom  Meighan  if 
you  as  much  as 
suspect  such  a 
thing.  Meighan 
gets  restless  be- 
cause  he  has 
plans  that  de- 
mand action , 
plans  that  have 
come  to  a  keen 
edge  only  after 
studied  shaping 
and  sharpening. 
All  right,  Mr. 
Meighan  is  going 
to  get  action.  He'll  see  to  that.  As  a  matter  of  fact,  as  you  sit 
reading  this,  he  will  be  in  Hollywood  getting  that  action. 

As  for  his  plan,  the  only  thing  that  may  be  divulged  about  it 
at  this  time  is  that  it  involves  the  screen  characterization  of  an 
internationally  known  figure.  And  it  is  a  figure  that  American 
writers,  at  least,  have  right  under  their  respective  noses — and 
have  not  been  able  to  see. 

Yet,  Thomas  Meighan  has  seen  the  possibilities  for  some 
time.  And  he's  got  his  ideas  about  the  screen  development  set. 
He's  even  got  a  writer  picked  out,  his  close  friend  Gene  Fowler. 
To  Tom's  mind,  Fowler  is  the  only  writer  who  can  do  justice  to 
this  character.  That,  unquestionably,  is  a  great  compliment  to 
the  ability  of  Fowler,  noted  as  a   [  please  turn  to  page  118  ] 


"The  Miracle  Man"  was  probably  Thomas  Meighan's  greatest  film.  It 
still  ranks  as  one  of  the  best  pieces  of  cinematic  art  ever  turned  out. 
But  Tom  had  to  organize  his  own  company  to  produce  it.  He  was  the 
only  one  who  could  see  its  value.  In  this  scene  from  it  are  Betty  Comp- 
son,  Joseph  J.  Dowling  and  Tom 


84 


Photoplay  Magazine  for  January,  1935 


■enfr  1 1 


Use  all  the  Cosmetics  you  wish,  but  remove  them  thoroughly 
Hollywood's  way-guard  against  unattractive  Cosmetic  Skin 


MANY  a  girl  who  thinks 
she  cleans  her  face  before 
she  goes  to  bed  does  not  thor- 
oughly free  the  pores,  but  actu- 
ally leaves  bits  of  stale  daytime 
make-up  to  choke  them  all 
night  long. 

"Heavens!  What's  wrong 
with  my  skin  ?"  Soon,  to  her  dis- 
may, she  discovers  the  warning 
signals  of  unattractive  Cosmetic 
Skin— enlarged  pores,  dullness, 
tiny  blemishes— blackheads, 
perhaps. 

Cosmetics  Harmless  if 
removed  this  way 

To  avoid  this  modern  complex- 
ion trouble,  thousands  of  women 


are  adopting  the  Hollywood 
screen  stars'  beauty  method. 
Cosmetics  need  not  harm  even 
delicate  skin  unless  they  are 
allowed  to  choke  the  pores. 

Lux  Toilet  Soap  is  made  to 
remove  cosmetics  thoroughly. 
Its  rich,  ACTIVE  lather  sinks  j 
deeply  into  the  pores,  carries 
away  every  vestige  of  dust, 
dirt,  stale  cosmetics. 

During  the  day  before  you 
put  on  fresh  make-up,  and 
ALWAYS  before  you  go  to  bed 
at  night,  give  your  skin  this 
gentle  Lux  Toilet  Soap  care.  In 
this  simple  way  you  protect 
your  skin — keep  it  so  clear 
and  beautiful! 


Photoplay  Magazine  for  January,  1935 


«5 


too  \ 


Hollywood's  Beauty  Care 

Fragrant,  white  Lux  Toilet  Soap  protects  the 
loveliest  complexions  in  the  world — and  has 
for  years!  9  out  of  10  Hollywood  stars  use  it 
to  keep  their  skin  exquisitely  soft  and 
smooth.   Begin  your  Lux  Toilet  Soap 
beauty  care  today! 


■ 

Joan  Blonde II 


STAR  OF  WARNER  BROTHERS' 
"KANSAS  CITY  PRINCESS" 


**. 


/> 


/O 


I  use  cosmetics,  of  course! 
But  thanks  to  LuxToi  let 
Soap,  I'm  not  a  bit  afraid 
of  Cosmetic  Skin 


•"THE  ear-to-the-grounders  tell  me,  that  Hal 
Mohr  and  Evelyn  Venable  may  have  called 
it  off,  but  they  are  still  lunching  together  .  .  . 
And  for  your  information,  Walter  Donaldson, 
brand  new  hubby  of  Walda  Mansfield,  com- 
posed   such    tunes   as    "Blue    Heaven"    and 
"Sleepy  Head"  .  .  .  John  Drew  Colt  is  an  ace 
squire  to  Tallulah  Bankhead  .  .  .  Merle  Oberon, 
British   star,   confirms   it   was   just   a   "trial 
engagement"    between   her   and    Joseph    M. 
Schenck  .  .  .  Loretta  Young  will  tell  you  she 
and  Fred  Perry,  tennis  star,  are  to  wed  in 
London.  But  he  still  has  an  Australian  tourney 
ahead  of  him  .  .  .  The  sole  memento  between 
Guinn  (Big  Boy)  Williams  and  Barbara  Weeks 
is  an  unused  marriage  license  .  .  .  The  Herbert 
Mundins  have  separated  .  .  .  The  Chaplin  boys 
call  Miss  Goddard  Aunt  Paulette  .  .  .  They  say 
that  gorgeous  ring  Kay  Francis  is  wearing  is 
the  gift  of  that  European  noble  admirer  .  .  . 
Mrs.  LeRoy  Prinz,  wife  of  the  dance  director, 
told  her  lawyers  that  she  couldn't  stand  it  any 
longer,  LeRoy  coming  home  with  saber  cuts  all 
over  him  from  duelling  ...  It  lasted  just  two 
months    with    Onslow    Stevens    and    Phyllis 
Cooper  .  .  .  Ona  Munson  has  been  giving  par- 
ties for  Ernst  Lubitsch  ...  So,  Helen  Kane, 
after  all  those  denials,  is  going  to  divorce  Max 
Hoffman  .  .  .  That  was  an  elopement  of  elope- 
ments, that  of  Barbara  Fritchie  and  wealthy 
J.  Ross  Clark,  2nd — all  the  way  across  the  con- 
tinent .  .  .  Will  Morgan  is  silent  when  Esther 
Ralston  says  no  wedding  bells  for  her  .  . .  Kath- 
leen Burke,  "The  Panther  Woman,"  and  her 
Chicago    photographer   husband,    Glen    Rar- 
din,  have  gone  their  ways  .  .  .  Are  the  Conrad 
Nagels  to  get  together  again?  .  .  .  The  Ginger 
Rogers-Lew  Ayres  wedding  has  probably  taken 
place  as  you  read  this  .   .   .   Eddie  Buzzell, 
another  groom  of  two  months,  and  Sara  Clarke 
already  have  a  divorce  . . .  'Tis  said  the  Jimmy 
Durantes  have  separated,  too  .  .  .  Joan  Marsh 
has  switched  to  Monroe  Owsley  .  .  .  And  the 
Roscoe  Ateses  have  split . . .  Glenda  Farrell  and 


Cal  York  Announcing  the  Monthly 


Robert  Riskin  are  now  "friends"  .  .  .  The  tes- 
timony in  that  suit  was  that  Ed  Wynn  had 
hired  a  woman  bodyguard  to  protect  him  from 
his  wife  .  .  .  Mervyn  LeRoy  and  Doris  Warner 
are  nearing  that  event  wherein  they  will  choose 
pink  or  blue. 

AyfAY  ROBSON  says  the  tinted  toe-nails, 
dyed  hair  business  is  old  stuff — not  at  all 
the  extremes  of  the  present  generation.  Forty 
years  ago,  May  says,  she  startled  Broadway  by 
wearing  a  green  wig  to  match  a  gown  of  that 
color. 

"V'OU  can  look  for  a  new  experience  when 
"The  Little  Minister"  is  released.    Katha- 
rine Hepburn  is  going  to  sing. 

TWTAE  WEST  made  a  good  speech 
at  the  Emanuel  Cohen  party. 
Among  other  things,  she  remarked 
that  the  jokes  in  her  pictures  didn't 
need  censoring  half  so  much  as  some 
of  the  jokes  that  are  in  circulation 
about  Mae  herself. 

T—TERE'S  a  new  one,  discovered  by  Neil 
Hamilton.  If  you  are  a  canary  fancier,  try 
sprinkling  paprika  on  your  bird's  diet.  His 
plumage  will  turn  to  a  lovely  red-gold,  about 
the  color  of  Marlene  Dietrich's  hair.  That  is,  if 
you  want  your  canary  to  look  like  Marlene. 

"[\TEWEST  romance — Mary  Carlisle  is  listen- 
ing seriously  to  young  James  Blakeley, 
from  the  Broadway  stage.  Blakeley  is  the  son 
of  Mrs.  Grace  Hyde,  of  Park  Avenue,  New 
York,  and  once  was  engaged  to  Barbara  Hut- 
ton,  five-and-ten  heiress,  now  Princess  Mdivani. 


Youthful  producer  and  director,  Howard  Hughes,  is  taking  an  important 

part  in  Patricia  Ellis'  entertainment  these  days.    Here  they  are  dining  at 

the  Trocadero.    Toby  Wing  is  another  young  player  who  has  been  seen 

with  Mr.  Hughes 

86 


(~)UT  on  the  Warner  lot  a  two-hundred  pound 
bruiser  sits  on  a  sound  stage  and  ties  peach 
blossoms  on  a  tree  limb  for  Dick  Powell  and 
Gloria  Stuart  to  sing  beneath. 

Don't  make  the  mistake,  however,  of  saying, 
"Whoops,  my  deah,"  in  his  direction. 

One  electrician  still  has  a  black  eye  to 
show  for  it. 

jUTAUREEN  O'SULLIVAN,  who  will  marry 
John  Farrow  next  Winter,  will  never  forget 
her  recent  trip  to  her  home  in  Ireland.  So  over- 
come were  the  natives  with  Maureen's  visit, 
they  refused  to  let  her  drive  anywhere.  Instead, 
they  insisted  on  pushing  her  car  from  street  to 
street. 

But  the  height  of  their  enthusiasm  was 
reached  when  Maureen  was  awakened  every 
morning   by   a   bagpipe   serenade   under  her 

window ! 

• 

•"PHE  clothes  closets  and  dressing-room  cup- 
boards in  Adolphe  Menjou's  new  house  have 
the  town  abuzz. 

His  seventy-five  suits  are  in  cellophane 
wrappers  so  that  Adolphe  may  select  one  with- 
out removing  the  covers. 

And,  for  the  same  reason,  the  drawers  are 
of  glass. 

But  what  has  Hollywood  completely  stumped 
is  one  large  glass  drawer  which  contains,  in  sol- 
itary repose,  an  Alpine  hat. 

QREDIT  Gloria  Stuart  with  this  one 
— but  some  how  or  other  we  doubt 
whether  her  argument  had  as  much 
effect  on  the  officer  as  her  pulchri- 
tude. Gloria  was  parked  in  a  taboo 
zone  on  Wilshire  Boulevard,  Holly- 
wood. A  motorcycle  policeman  came 
up  and  demanded  her  driver's 
license. 

"Why?"  said  Gloria.  "I'm  not  driv- 
ing.    I'm  sitting." 

Whereupon  the  cop  was  much  con- 
fused and  said  he  guessed  she  was 
right. 

'"THE   Chamber  of  Commerce  of  Southern 
California  is  seriously  considering  making 
Sir  Guy  Standing  chief  good  news  spreader 
about  the  land  of  sunshine  and  flowers. 

When  the  doughty  knight — on  location  with 
"Lives  of  A  Bengal  Lancer" — was  bitten  by 
the  dangerous  "black  widow"  spider  and  was 
out  of  the  cast  for  two  weeks,  he  made  a  special 
plea  to  the  Paramount  publicity  department. 
"  Don't  put  anything  about  this  in  the  papers," 
requested  Sir  Guy,  "it  might  keep  some  people 
from  coming  to  California." 

"HTHE  LITTLE  MINISTER"  riot  that  was 
staged  between  the  soldiery  and  the  towns- 
people in  that  picture  ended  in  several  unan- 
ticipated casualties.  In  the  melee,  Reginald 
Denny's  white  horse  reared,  causing  an  extra 
armed  with  a  pike  to  leap,  his  pike  butting 
John  Beal  in  the  eye. 

Katharine  Hepburn  was  so  excited  she  fell 
off  the  make-believe  cliff  on  which  she  was 
perched  and  sprained  her  ankle. 

So  the  company  is  temporarily  laid  up  for 
repairs. 

"CO,  you  won't  talk,  huh?"  Charlie  Chaplin 
says  he'll  still  remain  silent  in  his  next 
picture. 


Broadcast  of  Hollywood  Goings-On! 


XX7  C.  FIELDS  was  being 
"  •  bored  by  an  actor  who  insisted 
on  pouring  his  life  story  into  the  ears 
of  the  Paramount  comic. 

" — And  then  I  ran  for  forty  weeks 
on  Broadway,"  went  on  the  actor. 

"It's  a  pity  they  didn't  catch  up 
with  you,"  Fields  replied. 

A  RCHIE  MAYO,  the^rotund  director  who 
"'Mias  megaphoned  many  of  your  favorite  pic- 
tures, went  down  to  San  Pedro  to  a  wrestling 
match.  On  the  way  to  the  stadium,  he  was 
stopped  by  a  stranger  who  accused,  "Just 
because  you've  shaved  off  your  beard,  you 
needn't  think  I  don't  know  you!  You're  'Man 
Mountain'  Dean"  (pet  wrestler  in  the  movie 
colony). 

T5  ILL  GARGAN  arrives  home  to  tell  us  that 

he  had  a  hard  time  remembering  he  was  in 

London.   Going  into  the  Savoy  for  dinner  was 

just  like  entering  the  Brown  Derby,  there  were 

so    many    Hollywood    actors    and    directors 

I  around.    For  instance,  in  one  evening  there 

:  were  the  Charlie  Farrells,  the  Clarence  Browns, 

Laura  LaPlante  and  Irving  Ascher  (her  new 

husband),  Ralph  Ince,  the  Leslie  Howards — to 

mention  only  a  few. 

PATIENTLY  sitting  about  in  absolute  silence 
waiting  for  a  baby  to  doze  off  in  a  certain 
1  scene  for  the  picture,  "Wicked  Woman,"  the 
1  entire  cast  grew  drowsy.  And  when,  an  hour 
;  later,  the  baby  finally  dozed  off,  Mady  Christ- 
:  ians,  Betty  Furness  and  Charles  Bickford  had 
I  to  be  wakened  in  order  to  shoot  the  scene. 

"DING  CROSBY'S  records,  long  a  favorite 
with  Joan  Crawford,  have  been  replaced  on 

the  Crawford  phonograph.  A  new  singer  has 

taken  his  place — Joan  herself. 

Joan    has    gone  into    the   record    making 

business  with  a  vim. 

And  those  who  have  heard  the  Crawford 

records  declare  them  very  good,  indeed. 

T>  EMEMBER  all  the  old  mollycoddle  jokes 
about  ping  pong? 
Well,  Hollywood  has  been  playing  it  for 
years,  its  devotees  numbering  many  of  the 
most  he-man  stars.  But  the  final  masculine 
touch  came  when  Max  Baer  bounded  into  the 
Paramount  gymnasium,  spied  a  ping  pong 
table  and  reached  for  a  paddle.  "This  is  the 
,;ame,"  said  Max.  "It  helps  my  timing." 

■\X7HENEVER  Jackie  Coogan 
comes  on  the  set  where  Jack 
Oakie  is  working,  Oakie  hails  him 
thusly:  "Hello,  Bobby— oh,  I'm 
sorry,  you're  Jackie  Searl,  the  great 
child  actor,  aren't  you?" 

Which  burns  Mr.  Coogan  very 
severely. 

"THEY'VE  had  fan  dancers  of  every  variety 
— but  it  remained  for  Rudy  Vallee  to  fea- 
ure  a  number  with  twelve  two-hundred  pound 
iotball  players  as  fan  dancers! 

/\  THEN  that  battery  of  twenty  one-thou- 
sand-watt  lights  exploded,  Marlene  Diet- 
ch,  Josef  Von  Sternberg,  and  Marlene's 
usband,  Rudolf  Sieber,  came  through  the 
lower  of  hot  glass  unscathed.  But  two 
ctras  weren't  so  fortunate. 


ANNA  STEN  wandered  around  the  World's 
Fair  in  Chicago  for  two  weeks — without 
once  being  recognized.  This  is  not  so  remark- 
able as  when  she  returned  to  Hollywood.   She 


ical  was  used.  And  it  went  right  through  Bob's 
gown  and  burned  him! 

"An  antidote,  get  an  antidote!"  yelled  Bob, 
leaping  about  the  set  like  a  mad  hen. 

A  hurried  phone  call  brought  no  results,  the 
formula  was  a  secret  one,  and  they  refused  to 
divulge  the  contents.  Bob  had  to  suppress  his 
howls  and  finish  his  scene  before  he  could  be 
rushed  off  to  the  first  aid  station. 


Two  young  English  players  who  have  made  splendid  progress  in  Hollywood 

are  Frank  Lawton  and  Elizabeth  Allan.    Both  are  working  in  M-G-M's 

important  screen  version  of  Dickens'  "David  Copperfield" 


was  met  at  the  train  by  her  husband,  Dr. 
Frenke,  who  brought  along  the  entire  Sten- 
Frenke  menage — and  still  nobody  recognized 
her! 

"KJO  one  can  say  Leo  Carrillo  isn't  a  thought- 
ful man.  He  has  installed  a  row  of  large 
hooks  along  the  edge  of  his  bar.  You  are  given 
an  aviator's  life  belt  to  put  on,  and  hook  your- 
self up  to  the  bar.     Clever,  these  Spaniards. 

•"THE  M-G-M  wardrobe  went  into  a  dither 
when  an  order  arrived  for  a  negligee — for 
Bob  Montgomery!  He  wears  one  in  a  comedy 
sequence  with  Joan  Crawford  in  "Forsaking 
All  Others."  And  they  couldn't  find  one  around 
the  place  that  Bob  could  get  into.  Not  many 
ladies  are  built  like  Bob. 

"pOR  a  comedy  scene  in  a  Warner  musical,  it 
was  necessary  to  splinter  a  violin  on  the  head 
of  Allen  Jenkins.  Nine  times  the  scene  was 
taken,  but  a  tenth  was  found  necessary.  A  prop 
boy  handed  over  another  violin.  As  it  was 
raised  over  Jenkins'  head,  the  anguished  cry  of 
"Stop!  Stop!  It's  my  violin!"  came.  The  boy, 
by  mistake,  had  picked  up  an  orchestra  play- 
er's fiddle,  valued  at  three  thousand  dollars! 

DOBERT  MONTGOMERY  wore  a  lady's 

^•dressing  gown  for  a  scene  in  "  Forsaking  All 

Others."  It  was  supposed  to  catch  fire.  To 

create  smoke  without  flames,  a  certain  chem- 


'T'HE  story  is  around  about  the  little  extra 
who  enjoys  her  gold  digging.   She  calls  her 
latest  "The  new  buy  friend." 

VWALLACE   BEERY'S  new  plane  is  his 
fifth  in  seven  years.    It  only  goes  two 
hundred  and  forty  miles  an  hour! 

r^ARY  COOPER'S  method  to  aid  charity  is 
^^novel  to  say  the  least.  Gary  has  installed  a 
coin  box  on  his  front  door.  And  it  takes  a  dime 
before  you  can  make  his  front  doorbell  ring. 

T^\0  you  get  confused  in  the  spelling  of  movie 
"^names?  Well,  here  are  some  rules  then. 

It's  Alan  Mowbray  and  Alan  Dinehart,  but 
Allen  Jenkins. 

Rosco  Ates,  but  Roscoe  Karns. 

Katharine  Hepburn,  but  Katherine  DeMille, 
and  Kathryn  Carver. 

Adolph  Zukor,  but  Adolphe  Menjou. 

Merian  Cooper,  but  Marion  Dix. 

Mae  West  and  Mae  Clarke,  but  May  Robson. 

Bette  Davis,  but  Betty  Compson. 

Aileen  Pringle,  but  Eileen  Percy,  Aline 
MacMahon,  and  Arline  Judge. 

Hugh  Herbert  is  a  comedian,  but  F.  Hugh 
Herbert  is  a  writer. 

Cary  Grant,  but  Gary  Cooper. 

Gilda  Gray,  but  Zane  Grey. 

Francis  Lederer,  but  Frances  Dee. 

Harry  Joe  Brown  is  a  director,  but  Joe  E. 
Brown  is  a  comedian. 


Making  a  Man's  Picture 


[  C0N1INUED  FROM  PAGE  35 


the  company.  There,  at  last,  lay  the  promise  of 
a  man's  world  for  ten  days.  A  chance  for  his 
cast  to  lead  real  "Lives  of  a  Bengal  Lancer." 

Riding  and  roughing,  and  hot  sun  and  harsh 
winds  and  (this  would  appeal  to  the  primitive 
instincts  of  Messrs.  Cooper,  Tone,  Standing, 
et  al.)  hunting!  Women,  wives,  sweethearts? 
Tush — in  the  thrill  of  the  chase,  they'd  forget 
all  about  'em! 

So  they  left  Malibu  Lake  for  Lone  Pine — 
all  these  rough  and  hardy,  keen-eyed  Nimrods. 
Gary,  with  his  two  big  African  game  riiles, 
well  oiled.  Franchot,  proudly  bearing  a  com- 
plete hunting  outfit  and  a  very  super-special 


timidated  by  miles  of  mountain  roads,  find 
lodging? 

Gallantly  Sir  Guy  moved  out  of  his  room  with 
Gary — and  there  were  bunk  replacements  and 
crowding  of  quarters  all  down  the  line — clear 
to  the  cook's  quarters. 

"I  thought  Gary  might  be  lonesome,"  said 
Mrs.  Cooper.  Mr.  Hathaway  waved  a  white 
flag   and    admitted  defeat. 

And  that's  how  Sandra,  by  force  of  circum- 
stance, was  made  an  unofficial  member  of  the 
Bengal  Lancers — "But  don't  you  mind  me," 
she  admonished  Gary,  "you  go  right  on  with 
your  hunting  plans  with  Franchot." 


After  waiting  two  years  for  a  honeymoon,  Harry  Edington  and  his  wife, 

Barbara  Kent,  are  at  last  in  Europe.     Harry  is    Greta  Garbo's  agent, 

and  is  planning  a  real  screen  future  for  the  talented  Barbara 


30-30  rifle,  on  which  he  had  recklessly  blown 
the  weekly  pay  check.  Sir  Guy  laden  with 
a  new  set  of  flies. 

Now,  Lone  Pine  is  not  one  of  the  elaborate 
hotel  centers,  and  stars'  quarters,  on  trips  like 
this,  are  not  always  done  up  in  modern  finery. 
Gary  bunked  with  Sir  Guy;  Franchot  with 
Dick  Cromwell,  and  so  on  down  the  list. 

Every  available  bed,  cot  and  hammock  in 
the  little  town  was  accounted  for — not  a  spot 
to  spare. 

And  then,  just  as  everyone  was  shoe-horned 
into  his  quarters,  an  automobile  horn  tootled 
without  and  a  prop  boy  came  running  into 
Gary's  room — 

"Mrs.  Cooper's  outside,"  he  announced. 

Director  Hathaway  fainted. 

And,  well — you  can  imagine  the  havoc. 
Where  could  the  undefeatable  Sandra,  unin- 

88 


"  We'll  go  tonight,"  said  Gary,  "at  two  A.M." 
"Right,"  said  Franchot.  "Stout  fellow!" 
Now  the  details  of  that  hunting  expedition 
remain  a  little  vague.  But  this  much  is  known: 
That  Gary  and  Franchot  set  out  at  two  o'clock 
in  the  still  of  the  morning,  and  returned  to 
Lone  Pine  at  about  five-thirty  A.M.,  with 
scuffed  boots  and  weary  legs,  but  with  nary  a 
buck — nor  even  jack-rabbit  for  that  matter. 
They  got  all  of  one  hour's  sleep  before  a  bugle 
blasted  down  the  hotel  halls  to  shatter  their 
dreams,  and  they  were  very,  very  tired  lancers 
when  that  first  day's  fight  with  the  Khyber 
Pass  Afridi  tribesmen  was  over  and  Director 
Hathaway  signaled  "cut." 

"From  now  on,"  wisely  decreed  Nimrods 
Cooper  and  Tone,  "our  hunting  will  take  place 
within  easy  walking  distance  of  our  bunks." 
So  they  shot  at  tin  cans  and  bottles  discarded 


from  the  rolling  kitchen,  and  deposited  about 
the  nearby  crags  and  peaks  by  "Cracker" 
Henderson,  Gary's  faithful  retainer. 

Of  course,  Gary  almost  had  a  real  buffalo  to 
add  to  his  collection  as  a  souvenir  of  the  "Ben- 
gal Lancers"  safari.  He  and  Hathaway,  seek- 
ing good  location  sites,  came  upon  a  herd  of 
fourteen  American  bison  roaming  a  valley. 
What's  more,  they're  still  there,  because  neither 
Gary  nor  anyone  else  had  the  heart  to  shoot! 

Nor  was  Gary  the  only  one  with  a  soft  heart 
in  camp.  There  was  Serevan  Singh,  who  had 
been  a  fortune  teller  on  the  Strand  in  Long 
Beach,  near  Hollywood.  He  heard  that  Para- 
mount wanted  Hindus,  and  being  a  high-caste 
Hindu  himself,  journeyed  to  Hollywood. 

Serevan  was  asked  to  leave  his  telephone 
number  at  the  casting  office,  so  the  story  goes. 

"No  phone  number,"  said  the  Hindu.  "Just 
think  of  me,  and  I'll  report  for  work." 

Later,  Hathaway  and  his  assistant  director 
decided  they  would  need  several  Hindus  in  the 
next  day's  shooting.  Jokingly,  Hathaway  said, 
"Come  on,  you  Serevan!  Come  elerevan — 
tomorrow  morning." 

And  the  next  morning  at  eleven  o'clock 
sharp,  Serevan  Singh  was  on  hand ! 

"I  heard  you  call  me  last  night,"  he  said 
simply. 

Gary  and  Franhcot  and  Sir  Guy  and  Monte 
and  all  the  gang  heard  of  this  wondrous  seer, 
and  wanted  their  fortunes  told.  And  Serevan, 
in  the  fastnesses  of  Lone  Pine,  obliged — until 
he  came  to  Gary. 

"I  am  too  soft-hearted,"  he  said.  "What  I 
have  to  tell  you,  you  would  not  like  to  hear." 

/""'ARY  doesn't  know  what  terrible  fate  lies 
^^ahead  for  him — although  Franchot  Tone 
thought  surely  Serevan  had  got  his  signals 
mixed  and  meant  him,  after  he  had  been  in  the 
altitudinous  location  a  few  days.  Every  few 
steps  he  took,  Franchot  had  to  sit  down  and 
rest. 

A  newspaperman  along  with  the  outfit  wrote 
a  squib  about  Franchot's  height-susceptible 
heart,  and  a  Los  Angeles  paper  printed  it. 

The  next  day  a  messenger  dashed  frantically 
into  the  scene. 

"There's  an  important  long  distance  call 
from  Miss  Crawford  at  Lone  Pine  for  Mr. 
Tone,"  he  panted. 

Shooting  was  abandoned  and  the  company 
twiddled  thumbs  while  Franchot  made  the 
three-mile  hike  back  to  the  telephone. 

When  he  returned,  the  face  of  Mister  Tone 
wore  an  expression  of  perturbation — a  sort  of 
sheepish  look  mingled  with  wounded  pride.  An 
eyebrow  was  arched  dangerously. 

"She  was  worried  about  my  health! "  con- 
fessed Franchot.  "She  wanted  me  to  watch  out 
and  not  overdo!" 

Not  overdo — those  words  seared  a  lancer's 
soul.  "  Come  on,"  said  Lancer  Tone,  with  grim  : 
lips,  "let's  get  to  work!" 

And  Director  Hathaway,  raising  heaven- 
wards a  prayer  of  thanks  for  the  final  defeat  of 
woman,  grabbed  his  opportunity  like  a  short- 
stop grabs  an  infield  drive. 

"Let's  go  on  that  cavalry  charge  scene,"  he 
cried.  "  Come  on,  Cooper,  Standing,  Cromwell, 
Blue — let's  make  this  a  man's  picture!" 

And  that's  just  what  they've  done  with 
"Lives  of  a  Bengal  Lancer" — made  it  a  real 
man's  picture — in  spite  of  the  women. 


Fun  Like  Mad! 


Miss  Hopkins,  a  romanticist  at  heart,  tells 
the  little  shampooist  that  she  wants  to  help  the 
thing  along.  She'll  invite  the  two  of  them  to 
lunch  with  her  at  the  studio,  take  them  on  the 
set,  introduce  them  around  to  everybody. 
Then  have  them  to  dinner  at  her  home  that 
night — and  on  to  the  Cocoanut  Grove.  Surely 
a  build-up  like  that  would  snare  a  proposal. 

But  what  happens?  The  flier  arrives,  he  and 
his  girl  have  a  great  big  fight,  and  he  goes  right 
back  to  Panama.  Such  an  ending!  I  really 
couldn't  blame  the  poor  thing  when  she  turned 
on  the  cold  instead  of  the  hot  water  and  nearly 
froze  me  to  death. 


[  CONTINUED  FROM  PAGE  45  ] 

was  with  her  director-hubby,  Wesley  Ruggles, 
and  then  they  visited  another  good  man,  Frank 
Capra.  The  megaphone  wielders  were  out  in 
numbers  that  evening.  I  noticed  the  attractive 
Charles  Vidor,  too.  Then  I  spotted  George 
O'Brien  and  his  wife,  Marguerite  Churchill, 
and  Thelma  Todd  in  a  black  velvet  chapeau 
that  was  high,  wide  and  handsome.  And  in 
came  her  ex-husband,  Pat  de  Cicco,  with  Sally 
Blane.   But  nothing  happened. 

I  run  into  Sally  at  the  oddest  places.  Yester- 
day I  went  to  a  baby  christening  and  there  she 
w.as— godmother!  Maybe  he  knew  the  beaute- 


little  pinkie,  you  ought,  for  if  that  didn't  give 
out  on  me,  I'd  probably  fill  sixteen  pages  more. 

However,  this,  I  promise,  is  the  end.  Well 
almost,  for  I  just  must  tell  you  about  Nelson 
Eddy's  cocktail  party. 

Instead  of  being  a  conventional  little  affair 
that  does  itself  up  from  five  to  seven,  it  goes 
on  till  two  the  next  A.M.  That  gives  you  a 
vague  idea. 

Of  course  everyone  yelled  madly  for  Nelson 
to  sing,  and  he  obliged — by  phonograph  record. 
Smart  ole  Nelson.  The  point  I  mustn't  forget  to 
stress,  though,  is  that  he's  got  a  truly  magnifi- 


(~\VER  at  M-G-M  someone  got  the  smart 
^ldea  of  giving  Mr.  Louis  B.  Mayer  a  fine 
new  office  to  surprise  him  when  he  returned 
from  Europe  with  Mrs.  Mayer.  They  worked 
night  and  day.  The  building  sprang  up — all 
white  and  many-windowed  and  modern — like 
magic.  I  took  a  peek  just  after  he'd  arrived 
.  .  .  and  such  flowers!  With  my  all-seeing 
eyes,  I  took  in  a  big  basket  of  lovely  white 
blossoms  from  Jean  Harlow,  and  a  solid  silver 
desk  clock  also  from  the  thoughtful  Jean  and 
her  mama  to  the  big  boss. 

His  office  is  my  idea  of  something  pretty 
neat.  There's  a  real  fireplace  of  black  marble, 
not  fakey,  like  most  of  our  Californy  fireplaces, 
and  a  big  circular  desk.  Concealed  in  a  small 
ante-room  is  an  ice-box  and  a  double  electric 
■  plate  where  the  man  can  whip  up  some  tasty 
.  scrambled  eggs.    Just  think  of  the  fun! 

TN  case,  my  lamb,  you'd  like  my  opinion  on 
\  Max  Reinhardt's  opening  of  "A  Midsummer 
Night's  Dream"  at  the  Hollywood  Bowl,  I  shall 
give  it  to  you  in  but  few  words,  and  they'll  all 
spell  Glamorous.  (By  the  way,  I  suppose 
you've  heard  that  Reinhardt  has  signed  with 
the  Warner  Brothers  to  produce  "A  Mid- 
summer Night's  Dream"  and  other  spectacles 
for  the  screen.  Great,  eh?) 
!  I  snuggled  down  into  my  seat  and  just  let 
myself  go.  The  night  was  serene  and  warm,  the 
stars  were  flung  in  mad  abandon  across  the 
leavens.  Around  the  rim  of  the  Bowl  the  trees 
:'vere  outlined  like  black,  marching  sentinels, 
ind  the  crowd,  including  the  complete  roster  of 
VIovieland,  was  expectant  and  excited. 

Then  it  started.  Such  a  pageant  of  color. 
iuch  breath-takingly  lovely  fairy  dances,  like 
^ou  imagined  when  you  were  a  child.  There 
A'ere  tinkling  little  bells,  and  fairy  lights,  thou- 
sands of  them,  winking  off  and  on  in  the  hills 
•  henever  the  fairies  appeared.  I  could  go  on 
,'nd  on  like  this,  but  maybe  I'd  better  just  skip 
o  the  spectacular  end — the  wedding  scene. 
)own  from  the  distant,  furthermost  peaks,  to 
ine  music  of  "The  Bridal  Chorus",  marched  a 
low  procession  of  several  hundred  people  bear- 
ig  flaming  torches  aloft  in  the  night.  The  most 
>vesome  sight  I've  seen  in  a  long  time.  My 
:art  wanted  to  turn  handsprings! 

My  gentleman  friend  must  have  felt  that  I 
;eded  a  snack  after  that,  for  he  led  me,  unpro- 
sting  and  dreamy-eyed,  to  the  newest  night 
>ot,  the  Trocadero.  Wheeeeee!  What  a  place! 
II  red  and  white  and  Continental  and  so  gay. 
inches  of  celebs  were  all  over  the  place. 

Pola  Negri,  with  the  dead  white  face  and 
ick  gown  she  usually  affects  (and  so  success- 
;Uy)  was  at  a  table  with  my  hero,  Ramon 

>varro.  Arline  Judge,  who  is  so  cute  and  pert, 


Sleep-'n'  Eat,   RKO-Radio's    rival    for    Fox's    Stepin    Fetchit,   about  to 

fHtte£U,P£1SpaY  in  Wheeler  and  Woolsey's  "Kentucky  Kernels  "The 

dusky  lad's  real  name  is  Willie  Best,  but  he's  been  tagged  "Buckshot" 


ous  Sally  was  holding  him.  The  lucky  kid!  Any- 
way, he  didn't  let  a  single  squeak  out  of  him 
the  whole  time. 

YOU'VE  been  pleading  for  June  Knight  and 
I've  always  disappointed  you.  I'm  a  bad 
girl;  I  forgot  to  tell  you  how  I  went  down  to 
visit  her,  one  lovely,  warm  day,  at  the  Santa 
Monica  house  of  her  sweetheart,  Paul  Ames. 
(He's  Raquel  Torres'  brother-in-law.)  I  found 
her  in  a  scanty  bathing  suit,  which  she  filled 
very  nicely,  my  deah.  Regarding  her  toes, 
which  she  had  just  lacquered  a  dead  white  and 
which  were  swell  with  her  mahogany-color  tan, 
she  changes  them  to  any  old  hue,  any  old  time. 
Such  antics! 

Such  a  chatterbox.   Don't  you  ever  get  tired 
of  listening?  You  ought  to  be  grateful  to  my 


cent  voice.  And  when  we  hear  him  on  the 
screen,  we're  going  to  hear  something. 

Everyone  in  town  was  there.  I  can't  begin  to 
tell  you  the  list,  but  I  found  me  a  lovely  young 
man,  and  got  the  exciting  idea  of  inviting  him 
off  to  a  secluded  corner  of  the  garden  to  see  if 
love  would  bloom.  But  alas  for  the  plans  of 
mice  and  men  .  .  .  and  Mitzi.  While  trying  to 
compose  enticing  words,  I  happened  to  remem- 
ber the  famous  mistake  of  Ellen  Terry  on  an 
important  first  night.  What,  you  don't  know 
the  story?  Well,  at  the  play's  biggest  moment, 
Miss  Terry  was  supposed  to  hold  her  sweet- 
heart's hand  and  seductively  croon:  "Come, 
let  us  seek  a  cosy  nook."  But  what  she  actually 
said,  was:  "Come,  let  us  seek  a  nosey  cook!" 
Fun  like  mad  we  have  in  Hollywood ! 

MITZI. 


89 


Pert's  Reducing  Vacation 


TITIAN-HAIRED  Pert  Kelton  went 
to  an  idyllic  spot  for  a  vacation — 
Catalina  Island.  But  there  was  no  rest 
for  Pert.  She  was  out  to  take  off  pound' 
age.  One  of  the  methods  was  hauling  a 
boat  into  the  water.  Try  it  sometime. 
You'll  vow  it  is  tied  to  a  buried  anchor. 
Her  riding,  however,  was  more  fun.  But 
the  best  time  was  when  she  was  allowed 
a  few  minutes  to  sit  and  knit.  And, 
believe  it  or  not,  that  was  the  sole  relaxa' 
tion  Pert  got! 


90 


Lazarnick 


^NGLISH  Pat  Paterson  came  to  Hollywood  with  a 
-'rich  background  of  cabaret-radio-film-and-stage 
me  in  London.  In  less  than  a  year,  she  has  made  four 
ctures.  "Lottery  Lover,"  for  Fox,  is  her  latest. 
|it  is  golden  blonde,   a  talented  singer  and  dancer 


93 


For  Your  Christmas  Dinner 


As  capable  a  cook  as  she  is  an  actress,  Margaret  Sullavan  bastes  her  huge 

turkey  with  pure  olive  oil,  thereby  enriching  the  flavor  of  bird  and  gravy  and 

giving  the  white  meat  a  fine  texture 


Some  new,  some  old 
suggestions,  but  all 
delicious  additions 
to   tbe  festive  meal 


beating  well  the  following — }/%  cup  of 
salad  oil,  IJ2  tablespoons  of  lemon 
juice,  a  pinch  of  salt,  a  few  grains  of 
paprika,  and  1  tablespoon  of  melted 
currant  jelly. 

Onions  will,  of  course,  be  served. 
But  why  not  try  glazing  them  as  a 
change  from  the  creamed  ones. 

Peel  small  boiling  size  onions. 
Melt  2  tablespoons  of  butter  in  a 
large  iron  skillet,  and  place  onions  in 
it,  right  side  up,  crowding  them 
closely  but  having  only  one  layer. 
Sprinkle  1  cupful  sugar  over  them, 
and  salt  and  pepper.  Cover  closely 
and  cook  over  a  slow  burner  until  the 
onions  are  transparent. 

Old-fashioned  Pumpkin  Pic  should 
be  on  every  Christmas  menu.  So, 
here  we  go  on  the  ingredients: 

1 )  2  cups  of  cooked  pumpkin 

1  cup  of  rich  milk 

Y2  cup  °f  sugar 

1  teaspoon  of  cinnamon 
Y2  teaspoon  of  allspice 
34  teaspoon  of  mace 

2  eggs,  well  beaten 

1  tablespoon  of  butter 
Pinch  of  salt 


BASTING  with  olive  oil  wrorks  wonders  on  the  turkey 
itself,  but  without  a  properly  blended,  taste-tempting 
filling  no  holiday  meal  can  be  quite  complete. 

Chestnut  Stuffing  is  perhaps  our  wisest  choice.  Besides 
being  a  perfect  accompaniment,  it  imparts  a  delicate  tang  to 
the  meat  while  roasting.  Here,  as  in  every  cooking  venture, 
measuring  accurately  and  carefully  following"  directions  will 
pay  big  dividends.    Now  for  the  method: 

Loosen  the  shells  and  inner  skin  from  1  quart  of  large  chest- 
nuts by  cutting  a  gash  on  the  flat  side  of  each  nut,  shaking  them 
in  a  little  melted  butter,  and  setting  them  in  the  oven  for  10 
minutes.  Remove  shells,  and  boil  in  salted  water  until  tender. 
Drain  and  press  through  a  potato  ricer.  Add  1  pint  of  dry 
breadcrumbs  or  an  equal  amount  of  hot  mashed  sweet  potato, 
1  egg,  }<i  cup  butter,  1  teaspoon  salt,  some  chopped  parsley,  and 
the  turkey  liver,  chopped  finely.  A  little  onion  and  lemon  juice 
and  pepper  may  be  added.  Mix  all  ingredients  well,  and  if  you 
prefer  dressing  moist,  add  soup  stock  or  cream. 

Fruit  Salad  made  with  3  oranges,  3  bananas,  J  2  pound 
Malaga  or  seedless  grapes,  J>2  cup  chopped  pineapple  and  the 
juice  of  1  lemon  helps  balance  a  hearty  dinner. 

An  excellent  fruit  salad  dressing  is  made  by  combining  and 

9A 


Place  the  pumpkin,  milk,  sugar, 
salt  and  spices  in  a  double  boiler. 
After  the  mixture  is  well  blended  and 

heated  through,  add  the  beaten  eggs  and  stir  until  it  thickens. 

Then  add  butter  and  pour  into  a  crisply  baked  crust  while  hot. 

Place  in  a  moderate  oven  and  bake  the  pie  slowly  until  the 

tilling  is  firmly  set. 

If  you  would  like  to  depart  from  custom  and  vary  your 
dessert  from  the  usual  pies  and  plum  pudding,  why  not  serve 
the  typically  English  dessert — a  Trifle? 

This  requires  1  pound  each  of  lady  fingers  and  macaroons, 
Y2  pound  each  of  shelled  almonds  and  crystallized  cherries, 
halved,  1  pint  each  of  fruit  juice  and  hot  milk,  1  quart  of 
whipped  cream,  2  tablespoons  of  flour,  1  well  beaten  egg,  and 
Yi  cup  of  sugar. 

Soak  macaroons  in  fruit  juice,  blanch  and  chop  the  almonds. 
Make  a  custard  of  the  sugar,  flour  and  well  beaten  egg.  Add 
gradually  to  the  hot  milk  in  double  boiler  and  cook  until  thick, 
stirring  constantly.  Cool,  add  the  almonds  and  half  of  the 
whipped  cream. 

Line  a  large  glass  bowl  with  the  lady  fingers,  add  the  cream 
custard  mixture  and  the  macaroons,  placing  the  cherries  all 
through  the  bowl. 

Cover  with  the  rest  of  the  whipped  cream  and  decorate  with 
cherries.    Serves  twelve. 


Photoplay  Magazine  for  January,  1935 


95 


Locked  out  of  her  own  car  twenty  miles  from  home  .  .  . 
Car  keys  slipped  out  of  careless  handbag. 


you  get  when  your  pocketbook  opens  and  the 
contents  spill  out  or  are  lost. 


Car  keys  lost! 

POCKETBOOK 
PANIC* 

cures  this  star! 


N 


ow 

Katherine 
deMille 

insists  on  handbags  with 
TALON  Fastener 

REG.    U.    S.    PAT.    OFF. 

convenience  and  security! 

In  the  film  world,  where  every  detail  of  the  costume 
must  be  carefully  considered,  the  stars  insist  on 
handbags  with  Talon  Fastener  convenience  and 
security.  They  find  that  Talon-fastened  bags  set 
the  pace  for  style  and  beauty,  can  be  depended 
upon  for  quality,  and  assure  safety  for  handbag 
contents. 

The  Talon  Fastener  used  on  handbags  is  a  light- 
ning-like streak  of  usefulness  that  operates  smoothly 
and  easily,  and  closes  snugly  and  securely.  And 
this  trim-lined  device  contributes  to  the  smart 
tailoring  of  the  handbags  it  is  used  upon. 

Talon-fastened  handbags  for  morning,  noon  and 
night,  in  a  wide  variety  of  styles  and  at  all  prices, 
await  you  in  your  favorite  store. 

When  you  buy,  look  for  the  name  TALON  on 
the  slider.  It's  your  guarantee  of  quality,  as  well  as 
security  and  convenience. 

HOOKLESS  FASTENER  CO..  MEADVILLE,  PA.  •  NEW  YOKE  •  BOSTON 
CHICAGO.  PHILADELPHIA  •  LOS  ANGELES  •  SAN  FRANCISCO. SEATTLE 


96 


Photoplay  Magazine  for  January,  1935 


Books  That  Every  Book  Lover 
Will  Treasure 


HpHE  Economy  Educational  League  is  performing 
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ECONOMY 

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Use  the  coupon — circle  numbers  of  books  desired — any  book 
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I      Street                                                                                                  . ...  1 

the  hair  at 
ces  a  new 
d  is  dis- 
ir  texture 
reak  from 

debutante 


rmal  wear 


A  HOLIDAY  COIFFURE 


HAVE  reserved  for  this  page  a  very  special 
Christmas  gift,  one  for  yourself.  You  didn't 
expect  that,  did  you?  But  I  feel  that  we 
jiould  all  do  something  for  ourselves  at  this 
:ason  that  makes  us  look,  and  therefore  feel, 
appier  and  lovelier. 

i  One  thing  that  you  can  do  that  will  immedi- 
tely  transport  you  is  to  change  your  hair. 
hange  of  coiffure  is  a  ritual  with  Hollywood, 
id  it  might  well  be  a  ritual  with  many  of  us. 
othing    is    so    tiresome    to    ourselves — and 
hers — as  the  same  hair  arrangement  day  in 
id  day  out.    Yet  it's  a  very  popular  and  con- 
ant  habit  with  many  of  us. 
With  holiday  parties  in  mind,  I  show  you  a 
•autiful    arrangement    for    evening.      From 
,tne  Lang's  photographs,  you  can  even  admire 
r  hair  as  well  as  its  dress.    Now  this  coiffure 
ould  be  done  for  you  by  a  hairdresser,  and 
>u  must  have  at  least  a  long  bob  to  begin 
th.     Any  competent  hairdresser  should  be 
le  to  follow  the  design  if  you  will  take  these 
:tures  with  you.    Or  if  you  have  a  good  per- 
inent  or  natural  curls,  a  little  homework 
ght  be  a  great  success. 
Hair  style  trends  are  up,  up,  up.     To  my 


By  Carolyn  Van  Wyck 


mind,  evening  is  the  time  for  the  climbing 
coiffure,  because  it  is  neither  appropriate  nor 
practical  for  most  of  our  daytime  affairs.  But 
every  girl  who  can  should  take  advantage  of 


"DEAUTY  at  Bedtime,"  leaflet 
'-'form,  tells  a  few,  simple  steps 
that  every  girl  should  follow  each 
night  in  the  interest  of  good  looks. 
It  budgets  your  time,  tells  you  what 
to  use  and  how.  You  may  have  it  as 
well  as  advice  on  any  beauty  prob- 
lem by  writing  to  Carolyn  Van 
Wyck,  PHOTOPLAY  Magazine,  221 
West  57th  Street,  New  York  City, 
enclosing  a  stamped,  self-addressed 
envelope  for  reply.  Other  leaflets 
at  hand,  too,  covering  skin,  hair, 
nails  and  make-up. 


these  charming  upward  styles  for  evening. 
They  poetize  you.  They  add  the  frail  beauty 
of  a  Gainsborough  portrait,  invest  you  with 
qualities  that  are  often  fatal  to  your  escort. 
The  modern  evening  coiffure  is  decidedly 
romantic.  Through  our  highly  piled  curls  walk 
the  ghosts  of  Marie  Antoinette,  Catherine  the 
Great,  and  other  grand,  romantic  ladies  who 
have  made  history. 

High  curls  do  something  else  for  you.  If  you 
are  even  fairly  young,  with  reasonably  good 
facial  contours  and  nice  ears,  this  coiffure,  with 
the  right  touches  of  make-up,  seems  to  sculp- 
ture, dramatize  and  accent  all  good  points. 
Let's  take  advantage  of  this  charming  style, 
while  we  may. 

Recently  I  met  Hedda  Hopper,  her  usual 
vivacious,  charming  self.  She  was  enthusiastic 
about  a  new  coiffure  just  created  for  her.  Her 
comment  was,  "  It  makes  me  feel  years  younger 
because  it  all  goes  up." 

For  decoration  of  the  evening  coiffure  I  sug- 
gest a  ribbon,  a  tiny  clip  or  a  real  flower.  With 
a  high  coiffure,  especially,  you  have  no  idea  of 
the  allure  of  one  lovely  flower,  such  as  a  gar- 
denia or  carnation  among  your  mounting  curls. 

97 


Here's  More  Perfection  for  You 


[  CONTINUED  FROM  PAGE  71  ] 


You  must  remember  that  the  waistline  is  the 
center  of  your  body  and  that  if  you  are  to  have 
any  grace  of  movement  at  all  you  must  keep  it 
supple.  The  best  way  to  do  that  is  to  turn  on 
the  radio  to  a  snappy  tune,  put  your  arms 
lightly  above  your  head  and  hop,  skip  and 
jump  around  the  room  in  a  little  two-step. 
Don't  imagine  that  you  look  silly.  Do  it!  It's 
good  for  you !  And  all  the  time  keep  swaying 
and  bending  at  the  waist.  This,  too,  will 
flatten  that  back  muscle. 

TTHERE'S  just  one  word  that  describes  the 
perfect  abdomen.  That  word  is  "flat." 
Joan  Crawford  comes  nearer  to  having  the  per- 
fect stomach  than  any  girl  in  pictures.  She 
knows  how  to  stand.  Her  muscles  are  strong 
in  her  stomach,  so  her  hip-bones  don't  stick  out 
like  razor  blades. 

I  give  Joan  three  claims  to  distinction.  She 
is  a  grand  actress.  I  saw  her  not  long  ago  in 
"  Chained,"  and  thought  she  was  swell.  She  is 
a  good  scout.  Everybody  who  knows  her  says 
that.    And — she  has  a  flat  stomach. 

You  mustn't  have  any  rolls  or  bumps  or 
lumps.  Here's  how  to  tell  whether  or  not  your 
stomach  is  right  or  wrong. 

Stand  in  front  of  the  mirror  without  any 
clothes.  Put  a  ruler  down  the  front  of  your 
stomach.  Is  it  flat?  No?  Then  get  right  to 
work. 

First  of  all,  walk  straight  and  sit  straight. 
Don't  slump  down  on  your  back-bone.  Sit  the 
way  you're  supposed  to  sit.  You've  got  to 
make  your  stomach  muscles  strong.  The  way 
to  do  that  is  to  lie  on  the  floor  on  your  side, 
with  your  arms  above  your  head.  Stretch  your 
arms  so  you  can  feel  your  stomach  muscles 
pulling.  Without  changing  the  position  of 
your  arms  or  legs,  roll  over  on  your  face,  mak- 
ing sure  your  stomach  touches  the  floor.    Roll 


back  and  forth  like  that,  but  at  the  same  time 
progress  along  the  floor,  hitching  yourself  along 
on  your  stomach.  It  will  take  away  inches  and 
make  you  nice  and  flat. 

And  every  day  use  the  ruler  to  see  how 
you're  progressing.  Use  the  ruler  after  meals, 
too,  because  if  your  stomach  muscles  are  strong 
enough,  you  won't  bulge  after  a  heavy  meal. 
But,  listen,  I  don't  want  you  to  eat  heavy 
meals.  Remember,  exercise  alone  won't  give 
you  the  perfect  figure.  I  hope  you  have 
sense  enough  to  stay  on  my  diets  all  the  time. 
And  you  can  never  be  perfect  until  your 
stomach  is  flat  and  firm. 

Even  you  mothers  who  have  had  several  chil- 
dren don't  need  to  give  me  any  alibis.  You  can 
make  your  muscles  tight,  too.  You  expectant 
mothers  should  insist  that  you  are  bound 
tightly  after  your  baby  is  born,  and  the  third 
day  after,  you  should  begin  taking  exercises  in 
bed.  Yes,  I  mean  it.  Lift  your  heels  off  the 
bed,  keeping  the  knees  straight.  Lift  the  heels 
about  four  inches.  Then  lift  your  head  off  the 
pillow.  Do  this  seven  or  eight  times  at  first. 
Increase  day  by  day.  Feel  how  your  muscles 
tighten. 

"NJOW  I  want  to  show  you  the  perfect  hips. 
It  makes  me  sort  of  sad,  too,  since  for  years 
I  pointed  to  Connie  Bennett  as  the  girl  with 
the  most  perfect  hips.  But  she's  let  little 
Margaret  Sullavan  swipe  the  title  from  her. 
Connie,  I'm  ashamed  of  you!  The  thing  that 
makes  me  sad  is  that  you  know  better,  because 
I  taught  you  how  to  have  beautiful  hips. 
You'd  better  get  back  to  the  old  exercises  and 
diets  that  I  gave  you,  baby. 

So,  while  Connie  is  getting  her  hips  back 
where  they  were,  I  want  you  girls  to  take  a  look 
at  Margaret  Sullavan.  Gosh!  what  beautiful 
lines!    There  are  no  bulges  and  no  bumps,  yet 


every  bone  is  nicely  covered.  She  is  lean,  yet 
softly  rounding  and  appealing.  Oh,  Connie, 
Connie!  Don't  you  remember  that  night  at 
Joe  Kennedy's  when  Gloria  Swanson  and 
Laura  Hope  Crews  and  I  were  there,  and  I  told 
you  that  your  hips  were  your  greatest  advan- 
tage? Please,  Connie,  get  back  that  beautiful 
line. 

Very  few  people  are  fortunate  enough  to 
have  hips  equally  high.  One  is  very  apt  to  be 
a  little  higher  than  the  other.  This  usually 
comes  from  a  slumping  walk  in  childhood.  If 
you're  afflicted  that  way,  the  thing  for  you  to 
do  is  to  squeeze  off  excess  flesh  from  the  higher 
hip.  Then  both  will  have  the  correct  pro- 
portion. 

And  listen  to  the  exercise  that  will  give  you 
hip  perfection.  Stand  straight,  feet  slightly 
apart.  Raise  your  arms  above  your  head. 
Stretch  your  fingers.  Turn  your  body  so  that 
without  moving  your  feet  you  are  facing  side- 
ways instead  of  straight  ahead.  Now,  with 
your  body  in  this  twisted  position,  bend  over 
and  touch  a  spot  on  the  floor  about  two  feet 
from  your  feet,  with  your  finger-tips. 

Isn't  that  great?  You  can  tell  when  you're 
getting  results — you  feel  your  hip  muscles  be- 
coming tense.  Also  don't  forget  that  eating 
too  much  meat  puts  fat  on  the  hips. 

And,  please,  please — well,  I  won't  beg  you, 
if  you  haven't  got  sense  enough  to  do  this  I 
don't  want  to  bother  with  you — remember  to 
walk  correctly.  Don't  slump,  or  stand  with 
one  hip  higher  than  the  other.  Take  your 
exercises.  Eat  right.  Sit  and  walk  right,  and 
before  you  know  it  you'll  be  giving  all  these 
Hollywood  girls  a  run  for  their  money. 

But  I'm  not  through  yet.  Next  month  I'm 
going  to  describe  perfect  arms,  legs,  hands  and 
feet.  And  come  on,  you  girls,  jump  right  up  on 
the  beauty  band-wagon! 


Answers  by  Sylvia 


Dear  Sylvia: 

I  was  having  an  argument  the  other  day  with 
a  friend  of  mine  who  said  that  if  you  took  exer- 
cises you  didn't  have  to  diet,  and  if  you  dieted 
you  didn't  have  to  exercise.  It  didn't  sound 
right  to  me,  so  I  said  I'd  ask  you  how  about  it? 
Mrs.  R.  McL.,  Providence,  R.  I. 

Tell  your  friend  to  read  my  articles  and 
book.  That  will  settle  the  argument.  Of 
course,  she  might  use  a  little  common  sense, 
but  I  suppose  that  never  occurred  to  her.  Ex- 
ercise and  diet  go  hand-in-hand.  One  is  use- 
less without  the  other.  What  could  be  more 
stupid  than  exercising  systematically  and  then 
eating  your  head  off?  If  you  want  a  beautiful 
figure  you've  got  to  work  for  it,  and  you've  got 
to  do  everything  I  say. 

My  dear  Sylvia: 

My  fingers  are  very  blunt  and  stubby  from 
using  the  typewriter  all  day  for  years.  Is  there 
any  way  I  can  overcome  this  defect? 

L.  L.  D.,  Cincinnati,  Ohio 

It's  simple.  Every  day,  as  often  as  you 
think  of  it,  squeeze  the  tips  of  the  fingers  of  one 

98 


MAYBE  some  of  us  can't  be  per- 
fect, girls,  but  we  can  make  our 
selves  something  better  than  we  are — 
healthier,  more  attractive.  I've 
helped  many,  many  women  to  over- 
come their  faults,  and  I  can  help  you 
banish  yours,  be  they  large  or  small. 
No  obligation.  Just  address  your 
letter  to  Sylvia,  in  care  of  PHOTO- 
PLAY Magazine,  221  West  57th 
Street,  New  York  City. 

SYLVIA 


hand  with  the  thumb  and  forefinger  of  the 
other,  tapering  them  toward  the  end.  You  can 
do  this  a  hundred  times  a  day,  if  you  will,  and 
you  will  be  amazed  at  how  quickly  your  finger- 
tips take  on  a  nice,  tapering  shape. 

Dear  Sylvia : 

I  seem  always  to  have  cold  hands  and  feet. 
I  feel  sure  that  this  is  because  my  circulation  is 
bad.    I  appeal  to  you  to  help  me. 

B.  R.,  Lander,  Wyo. 

Your  circulation  won't  be  bad  if  you'll  go  on 
a  big  health  campaign.    Send  a  self-addressed, 


stamped  envelope  for  my  exercises  and  diets 
that  will  improve  your  circulation.  In  the 
meantime,  here's  a  little  tip  for  you.  Never  sit 
with  your  legs  crossed.    Always  sit  upright. 

Dear  Sylvia: 

I  am  a  mere  man  and,  I  suppose,  shouldn't 
be  writing  to  you,  but  I'm  quite  fat  and  I'd 
like  to  know  if  your  diets  and  exercises  are 
good  for  men  as  well  as  women. 

B.  N.,  Brooklyn,  N.  Y. 

Well,  hoorah!  Another  man  has  gotten 
some  sense.  You  bet  my  diets  and  exercises 
are  for  men  as  well  as  women,  and  if  you  fat 
boys  could  hear  some  of  the  remarks  that 
women  pass  about  you,  you'd  be  more  eager  to 
reduce.  Come  on,  boys  and  men,  why  don't 
you  string  along  on  the  reducing  wagon?  Study 
my  diets  carefully,  practice  my  exercises.  I 
guarantee  that  anybody — man,  woman  or; 
child — who  follows  my  system  can  lose  fifteen' 
pounds  a  month.  So  go  to  it,  and  let  me  know 
how  you  get  along. 

For  others  of  my  male  audience  who  are 
underweight  or  nervous,  my  diets  and  exer- 
cises build  you  up  or  relax  you,  as  you  need. 


My  dear  Sylvia! 

Will  you  kindly  tell  me  some  healthful  fooc 
which  will  put  weight  on  my  body? 

K.  W.,  Los  Gatos,  Calif. 


Hominy  with  ripe,  sliced  bananas,  thick 
soups,  chocolate,  rice  or  bread  pudding,  cup 
i  ustard,  avocados,  butter,  spaghetti — these  are 

I  a  few  of  the  fattening  foods  which  are  very 
healthful.     Hut  I  suggest  that  if  you  want  to 

]  add  pounds  you  send  for  my  building-up  diet. 

Dear  Sylvia: 

kindly  tell  me  what  to  do  for  fallen  arches. 
Is  there  some  exercise  one  can  take  that  will 
help? 

D.  R.  W.,  New  York  City 

You  bet  there  is!  Don't  T  always  have  a  cor- 
rective exercise  for  handicaps?  Stand  straight, 
\\  i tli  your  feet  tight  together.  Lean  as  far  back 
on  your  heels  as  you  possibly  can,  and  then 
1 1  pon  you  r  toes.  Be  sure  to  do  this  for  ten  or 
fifteen  minuteseverysingleday.  Alsobecareful 
i  f  your  shoes.  Don't  wear  flat  heels  except 
for  such  sports  as  tennis.  Use  high  heels  for 
evening,  but  be  sure  you  have  a  medium  heel 
inr  street  wear.  And  don't  be  vain  about  your 
'feet.  Be  sure  that  your  shoes  are  plenty  long 
rnough. 


Fhotoplay  Magazine  for  January,  1935 

KGOL 


99 


Edward  G.  Robinson  is  in  his  ele- 
ment,  hunting.       Eddie   enjoys  his 
leisure  all  the  more,  because  he  gets 
so  little  of  it 


MILDLY  MENTHOLATED 


//  CORK  Til 


TICKLES  THE  SMOKER 


Tuck  a  carton  of  KGDLS  (200  cigarettes) 
into  any  smoker's  stocking  and  listen  to  the 
grateful  "O-ohs!"  and  "A-ahs!"  you  get. 
The  mild  menthol  cools  the  smoke  and 
soothes  the  holiday-harried  throat,  but  the 
fine  blend  of  Turkish-Domestic  tobaccos  is 


fully  preserved.  Cork  tips  save  lips.  Coupon 
in  each  package  (like  a  touch  of  Xmas  all 
year  long!)  good  for  nationally  advertised 
merchandise.  Send  for  latest  illustrated 
premium  booklet.  (Offer  good  in  U.S.  A. only). 
Brown  &  Williamson  Tobacco  Corp.,  Louisville,  Ky. 


SAVE  COUPONS  FOR  HANDSOME  PREMIUMS 

Write  jor  jree  illustrated  booklet 


Ask  The  A 


nswer  ivian 


JANE  WYATT  is  the  outstanding  player  in 
the  Answer  Man's  mail  bag  this  month. 
Movie-goers  who  saw  her  as  Dinny  in  "One 
More  River"  went  scurrying  home  to  write  let- 
ters asking  about  her.  And  here's  the  low-down 
on  the  cute  little  miss  who  made  such  a  hit  in 
her  very  first  picture. 

Jane  was  born  in  Campgaw,  N.  J.,  August 
12,  1912.  At  nineteen  she  left  Barnard  College, 
where  she  had  studied  for  two  years,  and 
started  out  on  a  theatrical  career.  In  addition 
to  a  great  deal  of  work  in  stock,  she  appeared 
in  such  plays  as  "Tradewinds,"  "The  Vinegar 
Tree,"  "Give  Me  Yesterday,"  and  succeeded 
Margaret  Sullavan  in  the  cast  of  "  Dinner  At 
Eight  "  when  Margaret  was  called  to  the  Coast, 
to  appear  in  pictures.  Last  year  Jane  was 
appearing  with  Lillian  Gish  in  "Joyous  Season" 
when  Carl  Laemmle,  Jr.,  saw  her  and  gave  her 
a  contract  with  Universal.  This  contract  per- 
mits Jane  to  spend  part  of  the  year  in  pictures 
and  the  balance  on  the  stage. 

Jane  is  5  feet,  4  inches  tall;  weighs  118  and 
has  hazel  eyes  and  dark  brown  hair.  She  is  an 
excellent  tennis  player,  swimmer  and  horse- 
woman. She  will  soon  be  seen  in  the  leading 
feminine  role  in  Charles  Dickens'  "Great 
Expectations."  At  this  writing  she  is  appear- 
ing in  a  Broadway  play  "Lost  Horizons." 

Peggy  Ann,  Buffalo,  N.  Y. — -Yes,  Josephine 
Hutchinson  is  a  newcomer  in  pictures.  "Hap- 
piness Ahead"  was  her  first  picture.  Her  next 
is  "The  Right  to  Live."  Josephine  was  born  in 
Seattle,  Wash.,  October  12,  1909.  She  is  5  feet, 
43^  inches  tall;  weighs  1 10  and  has  red  hair  and 
golden  brown  eyes. 

Lorraine  Porter,  St.  Louis,  Mo. — Sorry, 
I  couldn't  make  the  December  issue  with  your 
answers.  Fay  Wray  was  born  in  Alberta,  Can- 
ada on  September  15,  1907.  She  is  5  feet,  3 
inches  tall;  weighs  114  and  has  light  brown 
hair  and  blue  eyes.  She  has  three  brothers  and 
one  sister.  Fay  entered  pictures  in  1924  and 
was  made  a  Wampas  Baby  Star  in  1925.  She 
has  been  married  to  John  Monk  Saunders 
since  June  1928.  Fay  recently  became  a  citizen 
of  the  United  States.  Frankie  Darro  was  born 
in  Chicago,  111.,  December  22,  1917.  His  real 
name  is  Frank  Johnson.  He  has  brown  hair 
and  brown  eyes.  Still  growing  so  I  can't  give 
you  his  exact  height  and  weight.  His  next  pic- 
ture will  be  "Racing  Luck." 

Anna  Critie,  New  York,  N.  Y. — You  can 
write  to  both  Alice  Faye  and  Lew  Ayres  at  the 
Fox  Studios,  1401  N.  Western  Ave.,  Holly- 
wood, Cal. 

Doris  Hutchixgs,  Detroit,  Mich. — Mar- 
garet Sullavan's  next  picture  will  be  "The 
Good  Fairy."  John  Beal  is  her  leading  man  in 
this.  Margaret  is  twenty-three  years  old  and 
celebrates  her  birthday  on  May  16.  George 
Raft  did  the  dancing  in  "Bolero." 

Amela  Erikoriax,  Kingsburg,  Cal. — 
Shortage  of  space  hinders  me  from  listing  the 
complete  cast  of  "Back  Street."  However,  if 
ymi  send  a  stamped  return  envelope,  I  will  be 
pleased  to  send  you  a  cast.  The  principals  in 
the   picture  were  Irene  Dunne,  John   Boles, 

100 


Jane  Wyatt,  who  left  school  to  go 
on  the  stage,  is  now  gathering 
laurels  on  the  screen.  Uni- 
versal's  star  bet,  her  recent 
screen  hit  is  Dickens'  "Great 
Expectations" 


Redd  This  Before  Asking  Questions 

Avoid  questions  that  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays.  Do  not  inquire 
concerning  religion,  scenario  writing,  or  studio  em- 
ployment. Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address.  For  a  personal 
reply,  enclose  a  stamped,  self-addressed  envelope- 

Casts  and  Addresses 

As  these  take  up  much  space,  we  treat  such  sub- 
jects in  a  different  way  from  other  questions.  For 
this  kind  of  information,  a  stamped,  self-addressed 
envelope  must  always  be  sent.  Address  all  inquiries 
to  Questions  and  Answers,  Photoplay  Magazine, 
mi  W.  57th  St.,  New  York  City. 


George  Meeker,  June  Clyde,  Doris  Lloyd  and 
William  Bakewell. 

Margaret  J.  Anderson,  Minneapolis, 
Minn. — Joan  Crawford  is  5  feet,  4  inches  tall 
and  weighs  115  pounds.  She  was  born  March 
23,  1908.  Her  next  picture  will  be  "Forsaking 
All  Others"  with  Clark  Gable  and  Bob  Mont- 
gomery. 

Margaret  Burke,  Baltimore,  Md. — Frank 
Lawton,  whom  you  liked  so  well  in  "One 
More  River"  was  born  in  London,  Eng., 
September  30,  1904.  He  made  his  stage  debut 
in  1923.  Entered  British  films  in  1929.  "Cav- 
alcade" was  Frank's  first  American  picture. 
His  next  is  "  David  Copperfield." 

Mildred  Corcoran,  New  London,  Conn. 
— Millie,  it  was  Sir  Guy  Standing  who  played 
the  role  of  the  Admiral  in  "Hell  and  High 
Water." 

Emilie  Cooke,  Santa  Monica,  Calif. — 
Colin  Give  was  born  in  St.  Malo,  France, 
January  9,  1900.  He  is  6  feet  tall  and  has  dark 
hair  and  gray  eyes.  Made  his  stage  debut  at 
the  age  of  19. 

Althea  Ashby,  New  Orleans,  La.  —  You 
can't  fool  this  old  Answer  Man  Althea,  by  say- 
ing that  Photoplay  has  never  printed  any 
pictures  of  Franchot  Tone.  In  April,  1933, 
we  ran  a  lovely  color  portrait  of  Franchot  and 
in  August,  1933,  a  rotogravure  of  him.  In 
November,  same  year,  we  published  a  story 
"I'd  Rather  Know  Joan  Than  Anybody  Else" 
says  Franchot  Tone.  Franchot  was  born  in 
Niagara  Falls,  N.  Y.,  on  February  27,  1905. 
He  is  6  feet  tall,  weighs  165  and  has  brown  hair 
and  hazel  eyes.  He  graduated  from  Cornell 
University.  Appeared  on  the  stage  prior  to 
going  into  pictures  in  1932.  Among  the  plays 
he  appeared  in  were  "Age  of  Innocence," 
"Pagan  Lady,"  "The  House  of  Connelly," 
and  "Green  Grow  the  Lilacs."  His  latest 
picture  is  "Straight  Is  the  Way"  which  John 
Gilbert  made  as  a  silent  under  its  original  title 
"  Four  Walls."  Next  Franchot  will  be  seen 
in  "Lives  of  a  Bengal  Lancer." 

Mary  Helen  Eads,  Monticello,  Ky  — 
The  lad  you  refer  to  in  "Sky  Bride"  was  Tom 
Douglas.  Nick  Foran  was  the  one  you  liked 
so  well  in  "Stand  Up  and  Cheer." 

J.  Y.,  Birmingham,  Ala. — The  two  ladies 
who  appeared  in  the  picture  in  the  upper  left- 
hand  corner  of  page  eight  in  the  April,  1931, 
issue  of  Photoplay  were  Greta  Garbo  and 
Dorothy  Sebastian.  It  was  an  off-stage  shot 
from  "A  Woman  of  Affairs." 

Marian  Orth,  Milwaukee,  Wis. — Unless 
he  has  been  holding  out  on  me  all  these  years,  : 
Tom  Tyler  is  still  fancy  free.    Joel  McCrea  and 
Frances  Dee  were  married  October  20,  1933. 

Edmond  Bochard,  Nauroy,  France  — 
Tom  Mix  has  deserted  pictures  and  is  with  a 
circus.  Mary  Boland  was  born  on  January 
28,  1892  and  Randolph  Scott  on  January  23, 
1903. 


Photoplay  Magazine  for  January,  1935 


IOI 


Dorothy  Mackay,  Highland  Park,  Mich. 
— Elissa  Landi  was  born  December  6,  1906. 
She  is  5  feet,  5  inches  taJ;  weighs  119  and  has 
light  auburn  hair  and  green-gray  eyes.  Her 
latest  picture  is  "Enter  Madame." 

Paddy,  Dayton,  Ohio.— The  little  lady 
who  did  the  solo  dance  in  "Too  Much  Har- 
mony" was  Grace  Bradley.  Gracic  is  a 
Brooklyn  girl,  born  and  educated  there.  And 
was  she  a  smart  youngster!  At  the  age  of  six 
she  was  a  child  prodigy  and  gave  many  piano 
concerts  in  New  York  and  other  cities.  At 
sixteen  she  decided  to  take  dancing  and 
dramatic  lessons.  Her  first  dancing  engage- 
ment was  in  "Ballyhoo."  Then  came  the 
"Third  Little  Show"  and  "Strike  Me  Pink." 
Paramount  executives  saw  her,  a  screen  test 
followed  and  Gracie  reached  Hollywood  a 
year  ago.  She  is  the  lirst  actress  in  her  family, 
although  one  of  her  grandmothers  was  a 
dancer.  She  is  5  feet,  2  inches  tall,  weighs  108 
and  has  red  hair  and  hazel  eyes.  She  is  of 
French,  German  and  Irish  descent.  Her 
hobbies  are  music,  fencing  and  horseback 
riding.  Harold  Lloyd  chose  her  for  one  of  the 
•  feminine  roles  in  his  new  picture,  "The  Cats- 
j    paw."  Her  latest  picture  is  "  Redhead." 

R.  R.  O.,  Racine,  Wise. — How  could  you 
:    let  anyone  spoof  you  like  that?      Of  course 
your  pal  Bing  doesn't  wear  a  wig. 

Eleanor  Werntz,  Savannah,  Ga. — David 
Manners  hasn't  forsaken  the  screen.  Since 
appearing  in  "Torch  Singer"  he  has  been  in 
"Roman  Scandals,"  "The  Black  Cat"  and 
"The  Great  Flirtation."  His  latest  is  "Moon- 
stone." 

Mrs.  Edith  Walker,  St.  Louis,  Mo. — I 

am  always  delighted   to   supply  information 

for  scrap  books.    Gene  Raymond,  was  born  in 

!  New  York  City,  August  13,  1908.     He  is  5 

|  feet,  10  inches  tall;  weighs  157  pounds  and  has 

blonde  hair  and   deep   blue  eyes.     His  real 

I  name  is  Raymond  Guion  and  he  is  of  French 

'  descent.    Gene  was  educated  in  private  schools 

!  and  appeared  on  the  stage  prior  to  entering 

pictures  in  1931.     His  favorite  recreation  is 

horseback   riding.      If   you   will   send   me   a 

return  envelope,  I  will  give  you  a  list  of  his 

pictures. 

W.  J.  McMahon  and  Gang,  St.  Peters- 
burg, Fla. — Shirley  Temple's  latest  picture 
is  "Now  and  Forever"  with  Gary  Cooper  and 
Carole  Lombard.  Next  she  will  be  in  "Bright 
Eyes."  Shirley  was  born  in  Santa  Monica, 
Calif.,  April  24,  1929.  She  has  golden  hair  and 
hazel  eyes. 


' 


FASHIONS 

No  man  can  escape  them 
and  no  woman  wants  to. 
You  il  find  this  issue  of 

Photoplay 

full   of  news   about 

forthcoming    styles 

and  fashions. 


CHOOSE  YOUR 


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Romance  With  an  Angel 


CONTINUED  FROM  PAGE  37 


Mary  Forbes,  coming  to  dine  with  her 
son  one  night,  had  big  news.  "I  saw  a 
charming  girl  today  at  the  Gleasons.  Really 
charming.  I  think  you  two  should  meet.  Her 
name  is  Heather  Angel  .  .  ." 

"I  have  met  her,  mother!  Oh  lord,"  groaned 
Rate,  "why  didn't  I  break  that  date  at  the 
dentist's  and  go  to  the  Gleasons?"  Mrs. 
Forbes,  fishing  thoughtfully  for  a  cherry  in  her 
fruit  compote,  smiled  slowly. 

It  was  a  certain  violently  black,  star-emptied 
midnight  when  he  did  run  into  her.  They 
were  coming  in  opposite  directions  through  the 
entrance  of  a  popular  night  club.  She  paused. 
He  turned.  Neither  liked  the  other's  com- 
panion. The  air  vibrated,  changed  to  a  chilly 
blue. 

"Why  on  earth  did  she  pick  him  to  go  out 
with?"  thought  Rafe. 

"He's  here  with  that  woman,"  thought 
Heather. 

This  was  the  end  between  them.  The 
definite  finale.    They'd  forget — 

But  it  was  queer  how,  for  people  no  longer 
interested  in  each  other,  sleep  eluded  both  of 
them  that  night.  How  Forbes  stormed  and 
raged  and  ranted  to  his  genial  man  Friday  the 
next  morning. 

"Imagine  letting  that  blankety-blank  tag 
around  after  her!  There  ought  to  be  a  law 
against  such  men!  She  ought  to  know  better. 
She—" 

TT  took  the  British  navy  to  bring  them  to- 
gether.   At  least  a  part  of  it. 

When  His  Majesty's  ship,  Norfolk,  steamed 
into  San  Pedro  harbor,  flags  flying,  a  slim, 
shining  greyhound  of  the  deep,  you  could 
hardly  suspect  it  of  doubling  for  Cupid. 

"Boom!"  went  the  great  guns  in  salute. 

"Boom!"  went  that  mischievous  little  fel- 
low's bow  and  arrow. 

Rafe  saw  her  as  she  stepped  on  deck.  Lan- 
terns were  strung  along  the  gleaming  length  of 
the  decks.  There  was  the  exciting  medley  of 
gold-braided  uniforms,  beautifully  gowned 
women,  the  gaiety  a  warship  takes  on  when  it's 
turned  into  a  flower-trimmed  ballroom.  "I'll 
Close  My  Eyes  To  Everything  Else  If  You'll 
Open  Your  Heart  To  Me,"  played  the  band. 
The  Admiral,  Sir  Reginald  Plunkett-Ernele- 
Erle-Drax,  was  bowing  over  Heather's  hand. 
Who  was  that  wdth  her?  Ah — relief — her 
mother! 

Luck  was  with  him  tonight.  He'd  brought 
his  sister,  Brenda. 

You  don't  have  to  worry  about  a  sister, 
not  when  she's  already  surrounded  by  a  half 
dozen  young  blades. 

By  a  little  expert  maneuvering,  Rafe  man- 
aged to  get  Heather  alone  for  a  moment. 
"  Have  you  seen  the  shore  lights  from  that  nice 
sj nit  up  forward?" 

"Yes,"  acknowledged  the  littlest  Angel, 
"about  eight  officers  have  shown  it  to  me  al- 
ready!" And  suddenly  they  were  laughing, 
looking  deep  into  each  other's  eyes,  drifting  .  .  . 

He  finessed  a  dance  with  her,  although  by 
that  time  Heather  was  having  serious  Admiral 
trouble.  She'd  forgotten  which  dances  she 
had  promised  him.  It  was  a  waltz,  dreamy, 
lilting.  .  .  .  She  was  so  exquisite  and  dainty 
and  young.  Breath- takingly  young.  "I'm 
having  a  buffet  supper  for  the  officers  at  my 

102 


house  tomorrow  night.     Can  you  come?"  His 

arm  tightened  about  her. 

"  Yes,    I'd    love    to,"    murmured    Heather 

against  his  coat  lapel. 

"You're  so  blessedly  sweet.     You're — " 
"I  believe,"   said   the  Admiral  pleasantly, 

"this  is  my  dance!" 

"D  AFE'S  house  is  an  English  Norman  affair 
swooping  up  a  hillside  in  the  gentlest 
fashion  possible.  A  rather  glorified  bachelor's 
quarters,  surrounded  by  sweeping  lawns  and 
trees  that  were  young  when  the  Spanish  con- 
quistadors arrived.  A  gray  parrot,  the  gift  of 
a   sea-wandering   friend,    holds   forth    at    the 


Leo  Carrillo,  the  likeable"  bad  man" 

of  many  pictures,   proudly   displays 

his  honorary  sheriff's  badge,  so  we 

suppose  the  country's  safe  now 


entrance.      "Hello,    darling!"    he   chirped   as 
Heather  entered. 

"He's  speaking  for  me!"  said  Rafe,  coming 
to  greet  her. 

It  was  good  fun,  that  party.  Sea  stories 
were  spun  until  you  could  fairly  feel  the  spin- 
drift off  the  bow  and  the  roll  of  the  deck.  Rafe 
made  an  exceptionally  fine  host — considering 
the  fact  that  he  kept  his  weather-eye  constantly 
fixed  on  an  Angel.  And  like  all  good  angels, 
she  led  the  singing.  In  the  garden,  that  was, 
along  about  the  pre-daybreak  hours.  No  one 
thought  of  departing. 

There  were  rollicking  navy  songs  to  be 
sung,  three  verses  to  a  song,  and  the  purple 
hills  echoed  with  them.  Laughter,  clever  toasts, 
a  lusty  chorus. 

It  was  two  o'clock  the  following  afternoon 
that  Rafe  awakened.  His  man  was  peering 
around  the  door  in  a  slightly  perturbed  state 
"What  shall  I  do,  sir?    There  are  two  ladies 


sitting  out  on  the  lawn."  Forbes  made  a 
Nurmi-like  leap  for  the  window.  There,  calm 
and  quite  unconcernedly  chatting,  were  Heath- 
er and  her  chum,  Pat  Paterson.  "We're  driv- 
ing down  to  the  beach,"  they  told  him  when  he 
put  in  a  hurried  appearance.  "We  thought 
Mr.  Forbes  might  be  lonesome  for  a  breath  of 
salt  breeze." 

Why,  come  to  think  of  it,  Mr.  Forbes  was! 

Now  Hollywood  was  still  ruminating  over 
the  sudden  Pat  Paterson-Charles  Boyer  nup- 
tials. And  Pat  was  in  that  state  of  enthusiasm 
peculiar  to  brides,  where  she  wanted  to  see  the 
whole  world  happily  married.  Here  was  a 
chance  to  help  the  good  cause  along!  Not 
that  it  needed  helping. 

In  ecstatic  mood,  Heather  reached  for  a 
flower  on  a  nearby  bush  as  they  slowed  up  for 
a  stop  sign.  It  was  a  nice  little  flower — only  it 
happened  to  have  a  hornet  on  it.  He  thor- 
oughly resented  being  a  captive  in  a  slim  white 
hand.  It  didn't  take  him  long  to  make  the 
fact  known  in  drastic  fashion.  Heather 
screamed.  She  backed  against  Rafe's  shoulder 
like  a  bruised  child. 

And  Rafe — what  does  any  young  man  do  in 
a  case  like  that?  Anyone  knows  that  the 
general  first  aid  treatment  includes  consider- 
able hand-holding. 

"Oh,"  breathed  Pat  looking  on,  "it's  just 
like  something  you  read  in  a  book!" 

And,  in  truth,  the  next  six  weeks  would  have 
written  a  highly  romantic  chapter  in  any  novel. 

'  I  'HE  blessed  part  of  it  was — there  were  no 
rumors.  For  once,  Hollywood  failed  to  do 
its  usual  blaring  about  a  budding  love  affair. 
Because  Hollywood  didn't  know.  No  one  sus- 
pected. Not  even  the  columnists.  It  wasn't 
that  Rafe  and  Heather  were  trying  particu- 
larly to  keep  it  a  secret.  It  was  just  that 
columnists  don't  "cover"  the  Riviera  polo 
field  on  off  days. 

"Great  shot!"  Rafe  pulled  up  to  watch. 
Heather  was  such  an  ethereal  little  thing  to 
be  racing  so  madly  down  the  field,  swinging  a 
mallet.  A  celestial  cherub  in  white  whipcord 
breeches  and  a  silk  shirt,  riding  her  mount  like 
a  gaucho.  He  didn't  know  then  that  she'd 
ridden  a  pony  in  Oxford  almost  before  she 
could  walk.  That  in  India  she'd  been  in  the 
habit  of  getting  up  at  five  in  the  morning  to 
exercise  a  friend's  racing  horses.  But  she  was 
a  wonder  on  the  polo  field. 

She  was  a  wonder  anywhere.  In  the  evening 
across  candle-lit  tables  ...  on  long  rides  through 
orange  groves  on  up  to  the  mountains.  They 
appeared  together  only  twice  in  public.  And 
then  the  name-linkers  of  Filmtown  were  not 
around ! 

It  was  at  her  farewell  supper  for  Boyer  that 
Rafe  told  her: 

"Heather,  sweet,  I'm  leaving  tomorrow  for 
a  fishing  trip  up  in  the  Sierras.  I — I  think  it's 
best." 

He  wanted  to  figure  out  this  thing  that  had 
happened  to  him,  to  get  a  perspective.  It's  one 
thing  to  drift  into  a  romance — and  another 
to  be  caught  in  the  glorious  whirlpool  of  it 
that  makes  your  senses  reel,  your  heart  pound. 

•"TEN  days  later  he  was  back.     He  knew 

exactly  what  he  wanted  of  life.    He  wanted 

an  angel  with  unfathomable  dark  eyes  and  an 


Piioioplay  Magazine  foe  January,  1935 


adorable  shyness  and  an  eager  wistful  little 
face.  Hut  the  Angel  was  difficult.  You  can't 
know  an  overwhelming  love  for  the  first  time 
and  be  sure  what  you're  about.  She  was  cold 
and  formal  one  minute,  and  appealingly  warm 
and  dear  the  next.     It  put  a  man  on  edge. 

"I  think,"  he  said  mournfully  one  morning, 
"it's  going  to  take  me  two  more  months  of 
Steady  concentration  before  I  win  her  over." 

That  was  the  morning  of  August  twenty- 
eighth.  There  was  nothing  about  it  to  hint 
of  what  was  to  come. 

Pat  was  giving  a  cocktail  party  for  Chevalier 
that  afternoon  and  Mile.  Angel  was  as  remotely 
impersonal  as  a  marble  statue.  -Most  people 
thought  they  hadn't  met.  He  was  to  take  her 
to  dinner  afterwards  and  Rafe  scowled  in  be- 
wilderment as  he  dressed  for  it.  What  made 
her  act  like  that?  The  telephone  jingled.  It 
1  leather. 

"I'm  so  tired  tonight,  Rafe.  Would  you 
mind  dining  here  at  Pat's  with  the  two  of  us?" 
Was  there  a  tremble  in  her  voice?  If  he  could 
have  known! 

Hecause  the  Angel  had  made  up  her  mind! 
While  she  was  dressing.  A  shaft  of  late  sun- 
light had  fallen  across  his  picture.  She  stood 
there  looking  at  it,  wondering,  and  suddenly 
something  went  "click"  in  her  heart. 

"Heather  has  just  told  me  something  to 
ask  you,  Rafe,  and  I  think  she'd  better  ask 
you  herself,"  Pat  leaned  across  the  table  in  a 
blaze  of  excitement.  What  was  up?  The 
girls  had  been  acting  queerly  ever  since  he 
entered  the  room. 

Heather  pressed  her  hands  together  until 
the  little  knuckles  showed  white. 

"How  long,"  she  asked,  "does  it  take  to  get 
to  Yuma?" 


Simple  words — and  then  the  full  meaning 
of  them  struck  Rale  spellbound.  He  pushed 
back  his  soup  .  .  .  went,  in  a  trance,  to  the 
other  side  of  the  table  .  .  .  Carolina,  Pat's 
French  cook,  dropped  a  whole  tray  of  plates 
and  no  one  heard. 

These  Forbeses  are  a  swift  acting  lot.  Rafe 
called  five  airports  in  so  many  minutes. 
Not  one  plane  available.  He  routed  his  sec- 
retary, Jane  Grey,  out  of  bed.  She  in  turn 
routed  Henry,  the  chauffeur. 

"I  thought  so,"  said  Henry  sleepily.  "I 
knew  we'd  be  traveling  to  Yuma  one  of  these 
days!" 

It  occurred  to  the  pair  that  there  were  people 
who  might  rate  being  notified.  His  mother — 
her  mother.  "Will  you  come  right  up  to 
Pat's  apartment  in  the  Sunset  Towers,"  was 
their  cryptic  message.  "We  have  something 
important  to  tell  you!" 

There  was  the  little  matter,  too,  of  an  en- 
gagement ring.  Rafe  searched  through  his 
pockets  in  a  frenzy.  He  had  to  use  something! 
He  did — the  slender  chain  of  his  watch!  He 
wrapped  it  around  Heather's  finger  and  no 
ten-carat  diamond  ever  was  put  on  with  more 
tenderness  and  feeling.  There  was  a  catch  in 
her  throat  as  his  arms  went  around  her.  A 
love  summed  up,  a  question  asked,  an  answer 
given  in  that  one  little  phrase — "How  long 
does  it  take  to  get  to  Yuma?" 

Usually  it  takes  something  like  six  hours 
driving  from  Hollywood.  It  took  them  ten. 
There  were  delays  at  the  start,  of  course. 
Heather  had  to  find  a  frock  of  Pat's  she  could 
wear.  People  came.  Rafe  caught  sight  of  the 
diamond  and  sapphire  ring  on  his  mother's 
finger.  It  had  been  his  grandmother's.  His 
mother  was  taking  it  off,  giving  it  to  him. 


IO3 

"This  is  better  than  the  chain!"  she  smiled. 
"Funny,  I  haven't  worn  it  for  years.  J  don't 
know  what  possessed  me  to  slip  it  on  tonight." 

Jane  Grey  contributed  the  wedding  ring — 
one  she  had  worn  on  her  little  finger.  Every- 
body emptied  their  purses,  for  there's  no  pla<  e 
you  can  cash  a  check  at  midnight. 

Finally  they  were  off,  at  two-thirty  in  the 
morning.  Dinnerless,  sleepless  and  blissfully 
■in  love. 

It  was  just  past  Indio  that  they  threw  a 
mainbearing.  Fortunately,  in  front  of  a  garage. 
Hitch-hiking  to  your  wedding  .  .  .  hailing 
busses  at  daybreak. 

But  all  the  busses  were  going  in  the  wrong 
direction. 

"I've  got  a  1922  car  here,"  confided  the 
garageman,  "but  it  goes."  It  did.  Just. 
It  was  held  together  by  the  grace  of  heaven 
and  little  else.    There  was  no  back  seat. 

Only  a  choice  collection  of  antique  farm 
implements.  And  in  it  Heather  and  Rafe 
rode  to  their  marriage. 

Only  four  minutes  it  took,  with  Judge  Free- 
man reading  the  simple  service.  A  hot,  white 
sun  streamed  in. 

A  bluebottle  fly  swung  in  lazy  circles. 
Funny,  how  Paradise  can  shift  down  into  a 
dry  little  courtroom. 

On  the  way  home  by  train  Rafe  murmured, 
"Darling,  do  you  know  we  have  to  begin 
all  over  again?  I'll  begin  with  a  star  sapphire 
engagement  ring  and  then  we'll  get  a  link  of 
Janey's  ring  put  into  a  wedding  ring  of  your 
own." 

"  It  would  be  nice,  dear,"  said  the  Angel, 
"if  you'd  begin  with  a  proposal!  Y'ou  know 
you  never  have — officially — asked  me  to 
marry  you." 


Will  Your  Favorite  Star  Survive  Color? 

f  CONTINUED  FROM  PAGE  27  I 


reproduce  truly,  but  photographed  with  an 
orangish-yellowish  tinge. 

Rich  purples,  lavenders,  all  shades  of  blue, 
and  many  lovely  in  between  colors  could  not 
be  recorded. 

Now,  however,  the  camera,  by  the  new  proc- 
cess,  is  able  to  "see"  all  three  primary  colors, 
and  their  combinations,  of  course,  make  up 
every  color  visible  to  the  human  eye. 

You  can  understand  the  impossibility  of  get- 
ting true  color  pictures  by  the  old  process  if  you 
try  to  imagine  yourself  painting  a  water  color 
picture,  using  only  red,  yellow,  and  green. 

Under  the  old  process,  too,  outlines  were 
blurred,  making  the  pictures  not  only  displeas- 
ing but  hard  on  the  eyes. 

rPHE  failure  of  former  Technicolor  pictures, 
however,  should  not  be  blamed  entirely  on 
the  camera's  lack.  Those  who  made  the  pictures 
were  partly  to  blame.  They  were  used  to  work- 
ing in  black  and  white.  They  did  not  realize 
that  a  production  done  in  color  had  to  be 
handled  differently;  that  careful  planning  of 
color  combinations  and  design  were  of  para- 
mount importance. 

When  Robert  Edmond  Jones  worked  out  the 
color  for  "La  Cucaracha,"  he  made  thousands 
of  crayon  sketches,  designing  the  movie,  scene 
by  scene,  from  the  script.  Every  scene,  each 
tiny  sequence,  was  then  created  from  his  crayon 
sketches,  copying  the  color  exactly.  Thus  each 
shot  was  a  perfect  picture  so  far  as  color  and 
design  were  concerned,  making  a  beautiful  and 
artistic  whole. 

He  is  doing  "Becky  Sharp"  with  the  same 
care  and  exactness. 

Those  working  in  color  realize  now  that  such 
careful  design  is  necessary.  They  have  learned, 
too,  that  in  many  other  respects  their  picture- 
making  must  be  treated  differently.  For 
example,  the  heavy  make-up  so  effective  in 
black  and  white  photography  is  ugly  and  artifi- 
cial in  Technicolor.  A  light,  natural  make-up 
must  be  used.  This,  of  course,  makes  it  more 
difficult  to  cast  a  role.  Skin  defects  cannot  be 
hidden  beneath  a  coat  of  grease-paint  and 
powder     Freckles  can't  be  powdered  over. 

Eyes  that  are  too  small  can't  be  made  to  look 
large  by  tricky  use  of  mascara  and  eye  shadow. 
Colorless  hair  won't  do,  while  artificial  coloring 
or  bleaching  photographs  badly. 

IT'S  putting  an  added  demand  on  stars! 
Those  that  passed  their  voice  tests  several 
years  ago,  and  have  been  breathing  easy,  ask 
nervously  now,  "How  will  I  photograph  in 
color?" 

"It  will  change  the  standard  of  screen 
beauty,"  says  Robert  Edmond  Jones.  "It  will 
bring  naturalness  into  favor  and  toss  artificial- 
ity into  the  discard.  Beauty  like  Irene  Dunne's, 
for  example,  will  then  become  full}'  appreciated 
— rich  reddish-brown  hair,  skin  of  lovely  tex- 
ture and  color." 

And,  those  stars  who  do  survive  the  test  are 
going  to  find  themselves  confronted  with  a 
more  difficult  job  in  movie-making. 

The  tedious  business  of  wardrobe  planning, 
for  example,  will  be  even  more  difficult  than 
it  is  now. 

Furthermore,  according  to  stars  who  have 
appeared  in  color  pictures,  the  intense  lighting 
necessary  for  its  photography  makes  working 
conditions  trying  and  unpleasant. 

104 


Jeanette  MacDonald,  who  appeared  in  the 
Technicolor  sequence  of  "The  Cat  and  the 
Fiddle,"  says,  "It  was  terrible,  trying  to  work 
under  the  lights.  The  heat  was  terrific;  make-up 
was  ruined  after  five  minutes,  and  the  intense 
light  was  so  hard  on  our  eyes,  it  was  almost 
unbearable." 

Miss  MacDonald,  incidentally,  with  her 
gold-red  hair  and  gray-blue  eyes,  is  one  star 
who  should  certainly  rate  high  before  the  color 
camera. 

But  if  the  players  find  themselves  confronted 
with  difficulties,  what  of  the  studios? 

The  studios  have  millions  of  dollars  worth  of 
equipment  for  making  black  and  white  pictures. 
It  cannot  be  used  for  color  movies.  Are  they 
going  to  be  faced  with  junking  all  of  this?  Of 
course,  when  the  tornado  of  sound  hit  Holly- 
wood, almost  overnight  equipment  that  cost 
fortunes  was  thrown  on  the  junk  heap.  And 
there  is  no  doubt  that,  if  the  public  demands 
color  pictures,  Hollywood  must,  and  will,  pro- 
vide them. 

But,  aside  from  the  high  price  of  equipment, 
the  actual  cost  of  producing  a  color  picture  is 
enormous! 

For  example,  it  cost  sixty-four  thousand 
dollars  for  RKO-Radio  to  produce  "La 
Cucaracha." 

The  average  black  and  white  picture  of  the 
same  length  costs  around  fifteen  thousand. 

/^\NE  reason  for  the  steep  cost  of  color  pic- 
^^tures  is  that  the  Technicolor  camera  uses 
three  times  as  much  film  as  the  black  and  white 
camera.  It  carries  one  strip  of  negative  film  to 
record  each  of  the  three  primary  colors.  Thus 
when  the  cameras  grind,  three  photographs  of 
the  scene  are  actually  being  taken  at  once.  It 
follows  then  that  at  each  step  in  the  handling 
of  the  film  the  work  and  cost  is  tripled. 

The  process  itself  is  not  as  difficult  or  com- 
plicated as  one  might  expect.  Let  us  imagine 
that  the  color  camera  is  photographing  a  holly 
wreath,  hung  on  a  blue  door.  Your  eye  sees  the 
red  berries,  the  green  leaves,  the  blue  door.  A 
beam  of  light  carries  these  three  colors  into  the 
camera. 

As  the  light  enters  the  camera,  it  strikes  a 
prism  which  splits  it  into  three  parts.  In  the 
camera  are  three  filters  made  of  gelatin — a 
green  gelatin  filter,  a  red  one,  a  blue  one.  Each 
of  the  three  parts  of  the  light  beam  strikes  one 
of  these  filters. 

The  green  filter  permits  only  the  green  in 
the  light  to  pass  through  and  hit  the  negative 
film. 

The  red  filter  lets  only  the  red  in  the  light 
through. 

The  blue  filter  carries  through  the  blue  in 
the  light  to  the  negative. 

Now  the  actual  color  is  not  recorded  on  these 
negatives. 

Looking  at  them,  you  see  only  shadow,  as 
on  an  ordinary  negative.  The  thing  that  is 
recorded  here  is  the  intensity  of  the  light 
that  has  struck  each  negative. 

These  negatives  must  be  printed  now  on  a 
positive  which  will  preserve  these  values  of 
intensity  and  which  can  take  dyes  and  print 
them. 

The  positive  used  is  a  gelatin-coated  film. 
After  the  negative  is  printed  on  the  positive, 
the  positive  is  put  through  a  chemical  process 
which  hardens  the  gelatin  of  the  positive  in 


proportion  to  the  light  that  strikes  it.  For 
example,  the  red  berries  were  dark  on  the  one 
negative  behind  the  red  filter,  and  those  spots 
let  little  light  through,  so  the  gelatin  there 
remains  soft.  On  the  same  negative,  the  green 
leaves  and  blue  door  are  not  dark,  and  light 
hardens  the  gelatin  in  those  spots.  Each  posi- 
tive is  now  taken  out  and  washed.  Naturally 
the  soft  gelatin  washes  away,  leaving  little 
"valleys"  where  the  red  berries  should  be,  and 
reliefs  of  hard  gelatin  for  the  door  and  leaves. 
These  gelatin  positives  are  known  as  matrices. 

"NJOVV  these  matrices  must  be  dyed.  Each  is 
dyed  with  its  opposite  or  complementary 
color.  The  red  matrix  is  dipped  in  a  green  dye; 
thegreen  matrix  is  dipped  with  red  dye;  the  blue 
matrix  is  dipped  in  yellow  dye.  You  now  have 
three  strips  of  film,  one  yellow,  one  green,  one 
red.  The  dye,  of  course,  is  absorbed  according 
to  the  thickness  of  the  gelatin  coating.  Where 
there  is  no  gelatin,  no  dye  will  "take."  Conse- 
quently, the  berries  on  the  originally  red  mat- 
rix, having  no  gelatin  covering,  take  none  of 
the  green  dye.  By  the  same  token,  on  the 
originally  green  matrix  these  berries  retained 
the  gelatin,  and  so  absorb  the  red  dye. 

The  three  matrices  are  now  printed  on  the 
final  positive  film.  First  the  red  matrix  (now 
dyed  green,  remember)  is  placed  against  the 
film.  Since,  on  this  matrix,  the  red  berries 
retained  no  gelatin  and  consequently  picked  up 
no  green  dye,  the  spot  where  the  berries  should 
be  simply  remains  blank  on  the  film.  Next, 
however,  the  green  matrix  (now  dyed  red)  is 
placed  against  the  film.  Here  the  berries 
retained  the  gelatin,  absorbed  the  red  dye,  and 
now  print  it  on  the  film.  However,  on  the  third 
matrix  (the  one  originally  blue,  now  dyed  yel- 
low) the  berries  also  retained  the  gelatin  and 
took  the  yellow  dye.  When  this  is  pressed 
against  the  film,  then,  yellow  dye  is  placed  over 
the  red  dye  of  the  berries.  The  same  is  true  of 
each  impression:  each  is  dyed  twice. 

But  the  light  in  the  projection  machine, 
striking  the  film  as  the  picture  is  being  shown, 
clears  this  up.  The  light  contains  red,  green  and 
blue  elements — the  three  primary  colors.  As  it 
shines  through  the  film,  the  red  element  holds 
up  the  green,  the  green  stops  the  red,  the  blue 
detains  the  yellow.  Thus  the  holly  berries, 
stained  with  red  and  stained  with  yellow,  come 
onto  the  screen  as  red  only,  because  the  blue 
element  in  the  light  detains  the  yellow,  and 
only  the  red  is  allowed  to  go  through.  On  the 
screen,  you  see  the  colors  now  as  accurately  and 
truly  as  if  you  were  looking  at  the  original 
objects. 

TF  black  and  white  movies  are  realistic  to  you, 
it  is  only  because  your  imagination  supplies  the 
color.  Technicolor,  however,  leaves  nothing  to 
the  imagination.  There  is  even  a  process  which 
makes  it  possible  to  record  such  realistic 
touches  as  a  blush,  or  a  players  turning  white 
with  fright  or  crimson  with  anger.  In  "La 
Cucaracha"  you  may  remember  when  Paul 
Porcas  became  angry  at  Steffi  Duna  in  the 
restaurant,  his  face  turned  purplish  red. 

This  is  done  with  a  machine  which  contains 
a  variety  of  colored  lights  set  on  a  pivot.  The 
pivot  is  turned,  shedding  the  desired  light  in 
front  of  the  projector,  and  directing  it  to  the 
spot  in  the  scene  where  the  effect  is  wanted. 

The  man  who  invented  the  machine  says  it 


Photoplay  Magazine  for  January,  1935 


10 


will  increase  the  possibility  of  interesting  effects 
immeasurably,  permitting  even  such  realistic- 
touches  as  pale  greenish  tinges  for  seasick 
actors  and  pasty  white  effects  for  "hangovers," 
if  desired. 

Hollywood  today  is  pretty  much  divided  .mi 
the  subject  of  color.  Sam  Goldwyn  and  Eddie 
Cantor  recently  leagued  with  the  pro-colorists 
when  they  made  the  final  sequence  of  "Kid 
Millions"  in  Technicolor.  RKO-Radio  signifies 
its  belief  in  the  future  of  color  by  tossing  tall 
sums  of  money  into  "Becky  Sharp." 

But  the  fate  of  its  future  lies  in  the  hands 
of  the  public. 

If  the  public  demands  it,  the  expense  to 
the  industry,  the  discomfort  to  players  will  be 
considered  of  small  consequence. 

If  the  public  wants  it,  Robert  Edmond 
loncs'  prophecy  will  be  fulfilled — color  will 
come  to  the  screen,  to  stay. 


Hollywood  Holiday 
Follies 


[  CONTINUED  FROM  PAGE  50  ] 

Mae  agreed  he  might  come  down  to  see  her 
sometime,  so  it  was  settled. 

Dietrich  and  Von  Sternberg  were  to  walk 
'into  the  Paramount  dining-room,  each  with  a 
!shoe-box  lunch  under  an  arm  and,  selecting  a 
table,  were  to  calmly  lay  out  their  weiner- 
' schnitzels  to  their  hearts'  content  and  the 
iwaiters'  astonishment. 

This,  too,  would  please  and  surprise  Santa, 
:they  felt  sure. 

Joan  Crawford  begged  to  be  allowed  to 
Itwine  gardenias  in  Santa's  beard  so  he  would 
smell  in  harmony  when  he  came  down  her 
chimney. 

Provided  Franchot  would  stand  for  any 
!such  monkey  business. 

The  only  snag  they  ran  up  against,  however, 
was  that  all  the  girls  wanted  to  tickle  the  jolly 
>ld  rascal;  he  being  such  a  plump  old  lamb.  In 
ithe  end,  they  finally  had  to  lay  down  "no  tick- 
ing" rules  which  simply  put  Miriam  Hopkins 
.o  bed  with  disappointment. 

After  lunch  (at  the  Brown  Derby)  Santa  was 
;o  view  the  Bus  Berkeley  girls  in  action.  If 
■ianta  still  lived,  a  simple  little  twenty-seven 
;ourse  supper  was  to  be  spread  at  the  new 
frocadero.  "And  let's  finish  up  with  nuts," 
omeone  suggested. 

rT'HAT  settles  it,"  everyone  screamed,  "if 
the  Marx  Brothers  come,  we  won't.  They'll 
;inish  it  up  all  right." 

|  Just  to  show  that  every  little  thing  had  been 
hought  out,  it  was  agreed,  if  a  Turkish  bath 
ailed  to  bring  Santa  around  after  the  evening's 
an,  Adrian  was  to  stitch  a  bale  of  cotton 
round  Guy  Kibbee  and  with  Santa's  pack  on 
is  back,  he  was  to  finish  up  the  job. 

"But  what  if  I  get  stuck  in  a  chimney?" 
iuy  whimpered, 
[i  "You've  been  stuck  in  worse  things  than 
:iimneys,  haven't  you?"  they  argued.    So  it 
as  agreed. 

And  with  this  last  detail  complete,  joy  broke 
■ose  all  over  everything  and  Gracie  Allen  had 
i  clean  it  up.  Cheers,  huzzahs  and  three 
iieers  for  "Hollywood's  Holiday  Follies"  rang 

it  over  the  land. 

And  as  Tiny  Tim  never  in  the  world  said, 

Merry  Christmas  to  you  all.  And  God  help 
li,  every  one." 


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makes  itself!  2-ingredient  Macaroons!  Shake-up 
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What  $25-2  Will  Bring  You 

Hundreds  of  pictures  of  the  stars  of  Hollywood  and  illus- 
trations of  their  work  and  pastime — in  twelve  big 
(monthly)  issues  of  Photoplay,  The  News  and  Fashion 
Magazine  of  the  Screen. 

Scores  of  interesting  articles  about  the  people  you  see  on 
the  screen. 

Brief  reviews  with  the  casts  of  current  photoplays.  The  truth  and 
nothing  but  the  truth, about  motion  pictures,  the  stars,  and  the  industry. 
You  have  read  this  issue  of  Photoplay,  so  there  is  no  necessity  for  tell- 
ing you  that  it  is  one  of  the  most  superbly  illustrated,  the  best  written 
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PHOTOPLAY   MAGAZINE,   Dept.   1-P,  1926  Broadway,  New  York,  N.  Y. 

4 


It's  Never  Been  Done  Before 


CONTINUED  FROM  PAGE  51  ] 


A  producer,  in  London  on  business,  sought 
relaxation  at  the  theater  with  friends.  The 
play  was  "The  Ace,"  which  had  been  a  sensa- 
tion in  the  English  metropolis  for  several 
months. 

Even  so,  tired  from  a  day  of  conferences  and 
checking  reports,  the  producer  leaned  back  in 
his  chair,  prepared  to  be  bored. 

But  in  the  first  five  minutes,  he  not  only  was 
interested,  he  was  sitting  on  the  edge  of  his 
seat.  A  new  personality — vibrant,  intriguing, 
compelling — had  flashed  across  his  conscious- 
ness. 

A  N  olive-skinned  beauty  with  flax-blonde 
hair  and  big  blue-green  eyes,  she  wore  the 
simple  costume  of  a  French  gamin  stranded  in 
Germany  during  the  war.  A  scarlet  hair- 
ribbon  and  sheer  black  silk  stockings  added  a 
saucy  pertness  which  was  devastating. 

It  was  easy  to  identify  her  from  the  program, 
as  she  was  the  only  feminine  member  of  the 
cast.  Ketti  Gallian!  An  intriguing  name — 
one  that  would  look  well  on  theater  marquees. 

The  producer,  Winfield  Sheehan,  sighed 
deeply.  For  more  than  a  year  he  had  been 
searching  the  world  over  for  the  ideal  girl  to 
play  the  title  role  in  "  Marie  Galante,"  the  Prix 
de  Rome  novel  by  Jacques  Deval  which  had 
caused  a  sensation  in  Europe  and  an  equal  one 
in  America  when  it  was  published  in  English. 

Here,  if  the  gods  were  good,  was  the  very 
girl  he  had  been  seeking.  If  she  filmed  well,  his 
long  search  was  at  an  end. 

Through  his  London  associates,  he  arranged 
for  an  interview  at  Miss.Gallian's  hotel.  When 
he  arrived  to  keep  the  appointment,  her  secre- 
tary was  called  in  to  interpret.  Miss  Gallian's 
English  vocabulary  embraced  no  more  than 
"How  do  you  do,"  "Thank  you,"  and  "Good- 
bye," despite  her  months  in  London. 

She  had  no  intention 
of  remaining  in  Eng- 
land when  she  accepted 
the  role  of  the  French 
girl  in  "  The  Ace,"  and, 
as  her  lines  were  all  in 
her  native  language, 
there  was  no  necessity 
for  her  to  learn  English. 
She  did  the  same  as 
most  Americans  do 
who  go  to  France  for  a 
visit — hired  a  bilingual 
secretary,  and  trans- 
acted all  business 
through  her,  even  to 
her  shopping. 

Mr.  Sheehan  found 
Miss  Gallian  delightful 
on  acquaintance  and 
speedily  arranged  for 
her  to  make  a  screen 
test.  Language  offered 
no  complications,  as 
she  merely  did  a  scene 
fr< >m  "The  Ace"  before 
the  camera. 

She  screened  gor- 
geously, the  searching 
eye  of  the  camera  re- 
cording many  facets  of 
her  piquant  person- 
ality that  were  lost 
over  the  footlights. 

10G 


The  producer  found  the  little  French  actress 
more  than  eager  to  visit  Hollywood.  But  there 
were  several  items  to  be  settled  first.  That 
matter  of  language — end,  she  ^,'ould  learn 
English  within  one  hundred  days.  Screen 
training — she  would  submit  herself  to  any  in- 
struction deemed  necessary.  Remodeling  her 
figure — Oo,  la  la! 

Famous  artists  had  pronounced  her  figure 
tres  chic. 

Why  must  she  change? 

It  was  patiently  pointed  out  that  the  camera 
magnifies,  and  that  a  person  who  may  look 
perfect  on  the  street  or  the  stage,  often  will 
look  too  large  on  the  screen. 

Oui — Gallian  would  reduce,  too,  if  it  were 
necessary.  And  so  the  very  unusual  contract 
was  signed. 

On  Christmas  Eve,  her  birthday,  inciden- 
tally, Ketti  Gallian  arrived  at  the  Hollywood 
airport.  A  stranger  in  a  strange  land,  her 
first  impulse  was  to  hop  another  plane  for 
home. 

She  had  been  seasick  on  the  rough  ocean 
crossing  aboard  the  Italian  Rex.  She  was  air- 
sick following  her  speedy  dash  across  the  con- 
tinent by  plane,  and  heartsick  and  lonesome 
for  her  relatives  and  friends  more  than  six 
thousand  miles  away  in  Europe. 

A  N  additional  provision  of  her  contract  re- 
quired  that,  in  order  to  insure  her  concen- 
tration on  learning  English,  she  must  not  as- 
sociate with  French  or  French-speaking  people 
during  the  period  of  her  training. 

The  only  answer  she  knew  to  homesickness 
and  discouragement  was  work,  so  the  volatile, 
flaxen-haired  starlet  settled  down  to  a  period 
of  intensive  study  and  the  bitter  drudgery  of 
lonely  labor. 

Margaret   Knapp,   who   last   year   coached 


Roger  Pryor  is 
The   romance 


proving  a  most  attentive  listener  to  Ann  Sothern's  reading, 
between   this   couple,   seen   dining   at   the   Brown   Derby 
restaurant,  is  said  to  be  growing 


Anna  Sten,  the  Russian  actress,  in  English  so 
successfully,  was  retained  to  tu  tor  the  French  girl. 
•>  The  young  ladies  shared  an  apartment,  to 
obtain  better  results  on  the  concentrated 
course  of  lessons. 

Miss  Gallian's  only  relaxation  contributed 
to  her  education,  too. 

She  listened  to  the  radio  and  attended 
American  movies  to  become  accustomed  to  the 
proper  enunciation  of  words. 

""TECHNICAL  resources  of  Fox  Movietone 
City  were  placed  at  Miss  Gallian's  disposal. 
She  was  coached  in  histrionics,  she  was  drilled 
in  poise  and  carriage. 

In  a  hundred  days  she  had  learned  Eng- 
lish. She  became  sufficiently  acquainted  with 
the  language  to  read  her  lines  clearly  and 
distinctly,  with  just  the  trace  of  accent 
which  movie-goers  find  so  delightful  in  foreign 
stars. 

Through  exercise — horseback  riding,  bicyc- 
ling, tennis  and  swimming — and  a  balanced 
menu  of  wholesome  foods,  she  reached  her 
proper  weight  and  the  slender,  sinuous  silhou- 
ette her  height  and  characteristics  call  for. 

Miss  Gallian  was  born  in  the  south  of 
France,  but  her  coloring,  features  and  figure  are 
not  typical  of  that  region.  She  is  a  marked 
contrast  to  the  small-statured  brunette  wom- 
en of  southern  Europe. 

Straight  as  an  arrow,  she  is  wide-shouldered, 
thin-hipped,  with  light  tresses  and  blue-green 
eyes. 

Perhaps  this  is  due  to  the  influence  of  her 
mother,  w-hose  family  was  of  Nordic  origin, 
though  French  for  generations.  Ketti's 
mother  was  born  in  Boulogne-sur-Mer  on  the 
English  Channel.  Ketti's  father,  Victor 
Galliano,  is  Italian  born,  from  the  Piedmont. 
A  grape-grower,  his  vineyards  extend  up  the 
hillsides  of  the  Mari- 
time Alps,  drinking  in 
the  sun  from  the  warm 
southern  exposure. 

Victor  Galiiano  be- 
came a  French  citizen 
before  the  war  and  was 
mobilized  with  the 
French  army  when 
hostilities  broke  out  in 
1914.  He  went  to  the 
trenches  early  in  1915, 
was  slightly  wounded, 
went  back  to  the  lines, 
then  came  down  with 
pneumonia. 

After  a  long  siege  in 
a  hospital,  he  was 
finally  invalided  out  of 
the  service. 

Ketti  was  a  war 
baby.  She  was  born 
during  the  dark  days 
of  the  great  struggle, 
far  from  the  front,  but 
a  stone's  throw  from 
the  Mediterranean  Sea 
where  enemy  sea 
raiders  frequently  at- 
tempted to  shell  the 
ports  —  where  enemy 
aircraft  soared  down 
the  Rhone  Valley  to 
bomb  distant  cities. 


._ 


Addresses 


Photoplay  Magazine  for  January,  1935 

of  the  Stars§_! 


107 

H      T 


Iris  Adrian 
Max  Baer 
George  Barbier 
Ben  Bernie 
Douglas  Blackley 
Mary  Boland 
Grace  Bradley 
Lorraine-  Bridges 
Carl  Brisson 
Kathleen  Burke 
Bums  and  Allen 
Allan  Campbell 
Kitty  Carlisle 
Claudette  Colbert 
Elisha  Cook,  Jr. 
Gary  Cooper 
Jack  Cox 
Larry  "Buster 
Eddie  Craven 

■    Bins  Crosby 
Ml  rod  Delcambre 
[Catherine  DeMille 
Marlene  Dietrich 
Jessica  Dragonette 
Frances  Drake 
\V.  C.  Fields 
William  Frawley 
Paul  Gerrits 

i  Gwenllian  Gill 
Cary  Grant 

I  David  Holt 

j  Dean  Jagger 
Roscoe  Kama 
Elissa  Landi 
Charles  Laughton 

,  Hilly  Lee 

'  Baby  LeRoy 
Diana  Lewis 


Hollywood,  Calif- 
Paramount  Studios 

Carole  Lombard 
Pauline  Lord 
Ida  Lupino 
Helen  Mack 
Fred  MacMurray 
Julian  Madison 
Marian  Mansfield 
Herbert  Marshall 
Lois  Maybell 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Lloyd  Nolan 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Joe  Penner 
Crabbe        George  Raft 
Lyda  Roberti 
Lanny  Ross 
Jean  Rouverol 
Charlie  Ruggles 
Randolph  Scott 
Ann  Sheridan 
Sylvia  Sidney 
Alison  Skipworth 
Queenie  Smith 
Sir  Guy  Standing 
Colin  Tapley 
Kent  Taylor 
Eldred  Tidbury 
Lee  Tracy 
Evelyn  Venable 
Mae  West 
Henry  Wilcoxon 
Howard  Wilson 
Virginia  Weidlcr 
Toby  Wing 


Fox  Studios,  1401  N.  Western  Ave. 


'■  Frank  Albertson 
Astrid  Allwyn 

I  Rosemary  Ames 

,  Lew  Ayres 

;  Catalina  Barcena 

.  Mona  Barrie 
Warner  Baxter 
John  Boles 
John  Bradford 
Frances  Carlon 
Madeleine  Carroll 
Dave  Chasen 

'  Tito  Coral 
James  Dunn 

I  Jack  Durant 
Alice  Faye 
Peggy  Fears 
Stepin  Fetchit 
Nick  Foran 
Norman  Foster 
,Ketti  Gallian 
Janet  Gaynor 
Harry  Green 
jRochelle  Hudson 
.Roger  Imhof 
Walter  Johnson 


June  Lang 
Edmund  Lowe 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Conchita  Montenegro 
Rosita  Moreno 
Herbert  Mundin 
Warner  Oland 
Valentin  Parera 
Pat  Paterson 
Ruth  Peterson 
John  Qualen 
Will  Rogers 
Gilbert  Roland 
Raul  Roulien 
Siegfried  Rumann 
Albert  Shean 
Berta  Singerman 
Shirley  Temple 
Spencer  Tracy 
Claire  Trevor 
Helen  Twelvetrees 
Blanca  Vischer 
Henry  B.  Walthall 
Hugh  Williams 


RKO-Radio  Pictures,  780  Gower  St. 


Glenn  Anders 
Fred  Astaire 
John  Beal 
.Willie  Best 
Eric  Blore 
Alice  Brady 
Helen  Broderick 
Bruce  Cabot 
Chic  Chandler 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Skeets  Gallagher 
Wynne  Gibson 
Alan  Hale 
Margaret  Hamilton 
Ann  Harding 


Katharine  Hepburn 
Pert  Kelton 
Francis  Lederer 
Gene  Lockhart 
Joel  McCrea 
Raymond  Middleton 
Polly  Moran 
June  Preston 
Gregory  Ratoff 
Virginia  Reid 
Erik  Rhodes 
Barbara  Robbins 
Ginger  Rogers 
Ann  Shirley 
Frank  Thomas,  Jr. 
Thelma  Todd 
Bert  Wheeler 
Robert  Woolsey 


United  Artists  Studios,  1041  N.  Formosa 
kve. 

'iddie  Cantor  Miriam  Hopkins 

-"harles  Chaplin  Mary  Pickford 

Oouglas  Fairbanks  Anna  Sten 

20th  Century  Studios,  1041  N.  Formosa 
\ve. 


.ieorge  Arliss 
"onstance  Bennett 
<onald  Colman 

Columbia  Studios, 

iobert  Allen 
ean  Arthur 
-ucille  Ball 
lines  Blakeley 
ohn  Mack  Brown 
ack  Buckler 
Jancy  Carroll 
v'alter  Connolly- 
Donald  Cook 
nez  Courtney 
ichard  Cromwell 
llyn  Drake 
'ouglas  Dumbrille 
shn  Gilbert 
rthur  Hohl 
ick  Holt 
.    ictor  Jory 


Fredric  March 
Loretta  Young 

1438  Gower  St. 

Fred  Keating 
Peter  Lofre 
Sheila  Mannors 
Marian  Marsh 
Tim  McCoy 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Virginia  Pine 
Arthur  Rankin 
Gene  Raymond 
Florence  Rice 
Charles  Sabin 
Billie  Seward 
Ann  Sothern 
Raymond  Walburn 
Fay  Wray 


Culver  City,  Calif. 
Hal  Roach  Studios 


Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwyn- 

Brian  Aherne 
Katharine  Alexander 
Elizabeth  Allan 
Lionel  Barrymore 
Wallace  Beery 
Virginia  Bruce 
Ralph  Bushman 
Charles  Butterworth 
Mary  Carlisle 
Leo  Carrillo 
Ruth  Channing 
Maurice  Chevalier 
Mady  Christians 
Jackie  Cooper 
Joan  Crawford 
Marion  Davies 
Jimmy  Durante 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Muriel  Evans 
Louis?  Fazenda 
Preston  Foster 
Betty  Furncss 
Clark  Gable 
Greta  Garbo 
Gladys  George 
C.  Henry  Gordon 
Ruth  Gordon 
Russell  Hardie 
Jean  Harlow 
Helen  Hayes 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 


Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

Mayer  Studios 

Isabel  Jewell 
Otto  Kruger 
Elsa  Lanchester 
Evelyn  Laye 
Myrna  Loy 
Jeanette  MacDonald 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Karen  Morley 
Ramon  Novarro 
Maureen  O'Sullivan 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
William  Powell 
Esther  Ralston 
May  Robson 
Shirley  Ross 
Rosilind  Russell 
Maurice  Schwartz 
Norma  Shearer 
Sid  Silvers 
Martha  Sleeper 
Lewis  Stone 
<  rloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


Universal  City,  Calif. 


Universal  Studios 

Heather  Angel 
Henry  Armetta 
Nils  Asther 
Binnie  Barnes 
Dean  Benton 
Mary  Brooks 
Willy  Castello 
June  Clayworth 
Carol  Coombe 
Philip  Dakin 
Ann  Darling 
Andy  Devine 
Sally  Eilers 
Valerie  Hobson 
Sterling  Holloway 
Henry  Hull 
G.  P.  Huntley.  Jr. 
Lois  January 
Buck  Jones 
Boris  Karloff 


Frank  Lawton 
Bela  Lugosi 
Paul  Lukas 
Florine  McKinney 
Douglass  Montgomery 
Victor  Moore 
Chester  Morris 
Hugh  O'Connell 
Roger  Pryor 
Juanita  Quigley 
Claude  Rains 
Onslow  Stevens 
Gloria  Stuart 
Margaret  Sullavan 
Francis  L.  Sullivan 
Polly  Walters 
Alice  White 
Clark  Williams 
Jane  Wyatt 


Burbank,  Calif. 

Warners-First  National  Studios 

Ross  Alexander 
Mary  Astor 
Arthur  Aylesworth 
Robert  Barrat 
Joan  Blondell 
Glen  Boles 


George  Brent 
Joe  E.  Brown 
James  Cagney 
Enrico  Caruso,  Jr. 
Hobart  Cavanaugh 
Joseph  Cawthorn 
Colin  Clive 
Ricardo  Cortez 
Dorothy  Dare 
Bette  Davis 
Dolores  Del  Rio 
Claire  Dodd 
Ruth  Donnelly 
Maxine  Doyle 
Ann  Dvorak. 
John  Eldredge 
Patricia  Ellis 
Florence  Fair 
Glenda  Farrell 
Grace  Ford 
Kay  Francis 
William  Gargan 
Hugh  Herbert 
Russell  Hicks 
Leslie  Howard 
Ian  Hunter 
Josephine  Hutchinson 
Allen  Jenkins 


Al  Jolson 
Olive  Jones 
Ruby  Keeler 
Guy  Kibbee 
Terry  La  Franconi 
Hal  LeRoy 
Robert  Light 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Aline  MacMahon 
Frank  McHugh 
Helen  Morgan 
Jean  Muir 
Paul  Muni 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Winifred  Shaw 
Barbara  Stanwyck 
Lyle  Talbot 
Verree  Teasdale 
Genevieve  Tobin 
Dorothy  Tree 
Mary  Treen 
Helen  Trenholme 
Harry  Tyler 
Gordon  Westcott 
Warren  William 
Donald  Woods 


Lloyd  Hughes,  616  Taft  Bldg..  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollywood 

Calif. 

Neil  Hamilton,  351   N.  Crescent  Dr.,  Beverly  Hills. 

Calif. 

Ned  Sparks,   1765  No.  Sycamore  Ave..  Hollywood, 

Calif. 

Alan    Dinehart,   2528   Glendower   Ave.,    Hollywood. 

Calif. 


Can  every  man  you  know  name  the  color 
ot  your  eyes,  this  minute?  If  not,  you  are 
not  making  good  in  the  beauty  game  and 
it's  time  to  take  steps.  You  might  take  to 
Kurlash  too.  Slip  your  lashes  into  this  fas- 
cinating little  implement — -press  for  an  in- 
stant— and  presto!  They're  curled  back  like 
a  movie  star's,  looking  twice  as  long,  dark 
and  glamorous.  Notice  how  they  frame 
your  eyes,  deepening  and  accentuating  the 
color!  No  heat — no  practice — no  cosmetics 
.  .  .  and  Kurlash  costs  just  $1  too! 


61/it 

Jane  L.  is  right  when  she  writes  that  it's 
worth  the  trouble  to  pluck  her  brows  slightly 
along  the  upper  line  because  it  makes  h^r 
eyes  seem  larger.  But  the  reddened  skin 
and  discomfort  she  complains  about  are 
caused  by  using  an  old-fashioned  tweezer. 
Do  you  know  Tweezette?  It  works  automat- 
ically, plucking  out  the  straggly  offending 
hair,  accurately  and  instantly,  without  even 
a  twinge.  It  costs  $1  in  any  good  store. 

A 


/ 


m. 


Ruth  W.  brushes  her  eyelashes  when  she 
does  her  hair.  Not  100  strokes  a  d;i-> — simply 
an  instant's  brushing  with  a  compound  of 
beneficial  oils  called  Kurlene  ($1).  You'll  be 
surprised  how  much  silkier,  softer  and 
darker    looking    it    will    make    yours    too! 


Jane  Heath  will  gladly  give  you  personal  advice  on  eye 

Seauty  if  you  write  tier  a  note  care  oj  Department  A-!. 

The  Kurlash  Company,  Rochester,  N.  1'.   The  Kurlash 

Company  oj  Canada,  at  Toronto,  3. 

Copyright  1931  T.  K.  Co. 


All  the  World's  His  Stooge 


CONTINUED  FROM  PAGE  77  ] 


eventually  substituting  rubber  balls  for  the 
stones.  Rapidly  he  became  more  adept,  and 
finally  was  urged  to  present  his  "act"  on 
amateur  night  at  the  neighborhood  theater  in 
the  Bronx.  Jimmy  won  first  prize,  and  the 
manager  offered  the  youngster  a  two-a-day 
contract. 

As  the  years  went  on,  Savo  developed  the 
most  complicated  of  juggling  routines.  One 
intricate  trick  took  him  two  years  to  perfect. 
( )nce,  while  presenting  it  in  a  vaudeville  house, 
he  missed  and  the  audience  laughed.  Savo 
decided  that  he  would  never  be  laughed  at 
again  while  trying  to  perform  a  difficult  and 
serious  act.  So  he  went  back  to  simple  tricks, 
doing  them  with  comedy  pantomime.  His 
comedy  was  so  successful  that  gradually  he 
dropped  the  juggling  and  emphasized  the 
pantomime.  Almost  at  once  he  became  a  head- 
liner  in  vaudeville,  featured  comedian  in 
Broadway  shows,  and  a  popular  entertainer  in 
New  York's  most  famous  night  clubs. 

It  is  surprising  that  until  now  movies  paid 
little  attention  to  him.  For  his  forte  is  panto- 
mime— always  more  effective  on  the  screen 
than  on  the  stage.  He  made  some  Sunshine 
comedy  shorts  for  Fox  back  in  the  silent  days, 
and  they  attracted  no  particular  attention. 
Last  Spring  he  made  a  movie,  "The  Girl  in  the 
Case,"  for  Dr.  Eugene  Frenke.  husband  of 
Anna  Sten.  A  private  production,  the  picture 
was  never  released.  However,  picture  men  and 
critics  who  saw  the  movie  by  invitation,  sang 
Savo's  praises.  And  a  few  months  later  Hecht 
and  MacArthur  asked  him  to  play  the  lead  in 
their  picture. 

Maybe  Hollywood  shunned  him  because  he 
once  told  a  movie  director  that  he  would  like  to 
see  his  favorite  book  brought  to  the  screen.  It's 


"The  Dishonest  Conductor,"  by  Rob  Nickels. 

He  makes  everybody  stooge  for  him.  And 
they  like  it!  He'll  say  to  you  merrily,  "Come 
and  go  to  the  fair  with  me  this  afternoon." 

You  answer,  "But,  Jimmy,  I  didn't  know 
there  was  a  fair  in  town." 

"Must  be.  I  read  it  in  the  paper  last  night, 
'  Fair  today  and  tomorrow.'  " 

He's  the  only  comedian  I've  ever  known  who 
even  makes  stooges  out  of  the  writers  who  are 
interviewing  him. 

Ask  him  about  his  education  and  he'll  say, 
"  Sure  I  went  to  school.  What  did  I  take  up? 
Space.  No,  seriously,  I  studied  geography.  I 
learned  that  the  most  important  animal  in 
Russia  is  a  Mouse-cow." 

A  SK  him  about  his  film  plans  for  the  future — 
if  he  may  go  to  Hollywood — and  he 
answers,  "Well,  I  bought  an  elephant  so  I'll 
have  a  trunk  handy,  just  in  case.  And  that 
reminds  me,  do  you  know  whose  baby  is  being 
fed  on  elephant's  milk?  The  elephant's  baby, 
of    course." 

You  groan  and  try  to  bring  him  back  to  the 
subject  of  movies,  his  career,  and  ask  him  if  he, 
like  most  comedians,  wants  some  day  to  do 
dramatic  roles. 

"  No,"  he  answers.  "Once  I  wanted  to  write 
plays.  But  now  I  know  I'd  rather  be  Jimmy 
Savo  than  William  Shakespeare.  Because 
Shakespeare,  you  know,  is  dead." 

You  groan  again  and  ask  him  what  he  would 
like  to  do  if  he  should  go  to  Hollywood,  and  he 
says,  "  I'd  like  to  become  a  rhinoceros,  so  I  can 
horn  in  everywhere.  You  know,  I  hear  Holly- 
wood  is  a  tricky  place.  They  even  have  a  trap 
set  for  Mickey  Mouse." 

If  Jimmy  Savo  does  go  to  Hollywood  it  won't 


be  soon.  That  is,  unless  Ben  Hecht  and 
Charlie  MacArthur,  now  producing  pictures 
for  Paramount  in  New  York,  change  their 
minds  and  agree  to  return  to  the  Coast.  For 
Jimmy  is  under  contract  to  Hecht  and  Mac- 
Arthur  for  six  pictures  to  follow  "Once  in  a 
Blue  Moon."  They  are  convinced  that  the 
Broadway  comedian  is  going  to  be  a  screen 
sensation,  a  second  Chaplin.  They  believe 
that  his  ill-fitting,  patched-up  clothes  and  his 
always  handy  bean-shooter  will  become  as 
famous  as  Charlie's  big  shoes  and  cane. 

And  if  his  two  directors  are  silent  when 
Jimmy  tells  a  joke,  it's  probably  because 
they're  afraid  to  open  their  mouths  for  fear 
Savo  will  make  stooges  out  of  them. 

And  he  does,  too.  For  example,  they  were 
ready  to  start  work  on  the  set  when  Savo 
rushed  up  to  Hecht,  saying,  "Hey,  do  you 
know  who  is  in  the  hospital?" 

Hecht  cast  an  anxious  eye  about  the  set. 
"No,  who?" 

"Sick  people,"  Jimmy  answered. 

"  Well,  you  oughta  be  there! "  Hecht  snarled. 

"Oh,  no.  Not  me,  Ben.  I  just  swallowed  a 
mint  and  I  feel  like  a  million  dollars!  By  the 
way,  Ben.  You're  a  great  director,  and  I'm  an 
actor,  trying  to  learn  how  to  speak  lines.  A 
guy  last  night  told  me  it  was  possible  to  say 
'What  am  I  doing?'  in  five  different  ways, 
making  five  shades  of  meaning,  just  by 
accenting  different  words.  But  I  don't  believe 
that,  do  you?" 

"Certainly,  it  is,"  the  director  answered. 
"  I'll  show  you.  What  am  I  doing?  What  am 
/  doing?  What  am  I  doing?  What  I  am  doing? 
What  am  I  doing?" 

"Making  a  sap  of  yourself,  Ben!  Well,  call 
me  when  the  camera's  ready." 


Margaret  Sullavan  Wants  None  of  It! 


she  was  not  and  never  would  be  happy  making 
pictures.  It  wasn't  just  Hollywood.  Margaret 
had  preconceived  ideas  about  Hollywood — 
playtime  Hollywood — and  stunningly  ignored 
it.  All  during  her  debut  picture  she  was  "reg- 
ular" enough  about  doing  the  extra-set  tasks 
demanded  of  a  star.  The  publicity  gags,  pic- 
tures, smiles,  introductions.  No  one  called  her 
a  "prima  donna." 

But  she  was  terribly  unhappy  every  minute 
of  the  time  she  spent  within  studio  gates.  And 
she  still  is.  I  happen  to  know  that  ever  since 
"Only  Yesterday,"  and  its  undreamed  of  re- 
sult of  lifting  her  to  the  small  pinnacle  of  great 
screen  stars,  Margaret  Sullavan  has  never  been 
the  same. 

"RVEN  during  the  filming  of  "Little  Man, 
What  Now?"  under  the  kindness  and 
understanding  of  Frank  Borzage,  whom  she 
liked,  on  a  set  where  harmony  and  pleasant- 
ness ruled,  Margaret  suffered  the  same  soul- 
twisting  tortures. 

Every  picture  has  been  a  Hell  for  her  to 
get  through.  Her  attitude,  which  is  genuine 
and  uncontrollable,  has  not  changed  one  iota 

108 


[  CONTINUED  FROM  PAGE  29  ] 

from  the  first  discouraging  week  of  her  screen 
career  to  the  day  we  talked  at  luncheon. 

To  completely  understand  it  would  be  to 
completely  understand  Margaret  Sullavan — 
and  only  the  gods  can  dare  boast  such  percep- 
tion. For  she  is  no  ordinary  person;  on  the 
contrary,  she  is  one  of  the  most  intensely  in- 
teresting and  individual  characters  ever  to 
visit  Hollywood. 

However,  here  is  an  attempt  at  least  to  pene- 
trate the  shell  of  a  psychology  which  has  pro- 
vided Hollywood  with  an  enigma  rapidly  be- 
coming as  classic  as  Garbo. 

In  the  first  place,  all  the  rich  rewards  of 
movie  stardom  leave  her  as  cold  as  a  casting 
director's  eye. 

Money,  movie  money,  big  money  simply  has 
no  lure  for  her.  She  doesn't  want  mink  coats 
and  town  cars.  Making  good  in  a  show  world 
doesn't  lend  her  the  slightest  desire  to  make  a 
show. 

Last  year  she  drove  a  small,  second-hand 
medium  priced  roadster;  this  year  she  doesn't 
even  own  a  car,  but  rents  a  1932  rattly,  two- 
seater  of  one  of  the  lowest  priced  makes. 

Living  in  style,  wearing  sensational,  expen- 


sive clothes,  putting  it  on  in  the  grand  manner 
is  actually  distasteful  to  her.  Last  year,  again, 
she  took  a  house  in  Coldwater  Canyon,  not  a 
big  house,  but  a  nice  house.  This  year  she  lives 
right  in  the  heart  of  Hollywood,  in  a  small 
apartment.  The  address  is  good,  but  not  ultra- 
ultra.  Fame,  publicity,  glamour,  ballyhoo,  they 
make  her  shudder.  I  doubt  if  she  has  read  one 
one-hundredth  of  the  stories  written  about  her. 
She  keeps  none  of  her  countless  still  portraits. 
She  wasn't  enjoying  having  luncheon  with  me, 
although  we  are  friends,  because  she  knew 
I  was  going  to  write  about  her.  Anything  at- 
tempted in  the  nature  of  an  interview  is  ac- 
tually painful  to  her.  Talking  about  herself 
makes  her  weak  inside.  She  made  me  promise 
not  to  quote  her. 

HTHE  fact  that  millions  of  people  all  over  the 
world  are  being  entertained  and  made  happy 
by  her  pictures,  the  fact  that  she  is  succeeding 
in  what  most  people  consider  an  immeasurably 
great  career  does  not  begin  to  compensate  her 
for  what  she  sincerely  feels  she  is  missing  be- 
cause of  it. 

To  her  any  career — even  the  stage,  which 


Photoplay  Magazine  for  January,  1935 


she  loves  almost  reverently — isn't  worth  a  snap 
of  the  ringers  if  it  in  any  way  bounds  her  free- 
dom. If  it  keeps  her  from  drinking  to  the 
fullest  of  life. 

In  some  ways,  Margaret  Sullavan  is  a  wise 
old  woman;  in  others,  I  suspect  that  she  is 
a  naive  child. 

Because  she  eagerly  wants,  she  insists  on 
every  worth  while  fruit  in  the  world's  Eden — 
not  sometime,  but  now. 

She  wants  a  stage  career  (she  wants  to  "  learn 
how  to  act"!!)  she  wants  to  travel,  she  wants 
marriage,  a  home,  children,  she  wants  leisure 
— and  all  pretty  much  at  once.  The  fact  that 
all  of  these  can  come  in  a  few  years,  after  she 
has  made  herself  independent  for  life,  by  a 
short  prison  "stretch"  in  Hollywood,  cuts  no 
figure  whatever  with  her. 

She  thinks  that  now  is  the  time  to  be  free — 
not  later. 

(~\F  course,  most  of  us  wouldn't  consider  the 
^making  of  two  pictures  a  year  (even  though 
each  picture,  being  the  most  important  on 
Universal's  schedule,  takes  from  two  to  three 
months  to  film)  exactly  the  four  walls  of  a 
prison — but  to  one  so  geared  as  Margaret 
Sullavan,  it  is  more  than  a  prison — it's  a  tor- 
ture chamber. 

Every  day  she  spends  on  the  set  saps  her 
energy  to  the  last  dregs  and  tires  her  to  nervous 
exhaustion.  She  goes  home  in  a  state  of  mind 
which  carries  the  conviction  that  her  day's 
work  has  been  futile — that  she  has  given  a  mis- 
erable performance — that  she  has  wasted  a 

i  precious,    irretrievable    day    of    her   life — for 
naught. 

She  can't  bear  to  view  the  rushes  of  her  day's 

1  work  in  the  evening  after  the  final  "Cut"  has 

'.  sounded. 

Director  William  Wyler   asked   her   as    a 

'  special  favor  to  see  them  on  her  present  pic- 

:  ture,  "The  Good  Fairy." 

He  thought  it  would  help  her. 
She  went  for  two  evenings.     She  couldn't 
stand    to    see    herself    and    begged    off;  she 
hasn't  seen  them  since. 

From  all  of  it  she  wants  to  escape.  Weary 
of  the  bargain  which  unsought,  unexpected 
success  has  forced  on  her,  Margaret  Sullavan 
wants  a  way  out. 

Will  the  marriage  that  she  contemplates  help 
her  find  the  freedom  and  the  rich  experience  of 
life  she  demands,  and  which,  being  made  as  she 
is  made,  Hollywood  denies  her?  Will  it  be  the 
first  step  towards  her  eventually  forsaking  the 


(~\R-  will  it  change  her  whole  psychology,  re- 
'^^vamp  her  unusual  attitude  towards  screen 
stardom,  give  her  enough  of  the  extra-studio 
if e  she  now  lacks,  and  make  what  now  seems 
iull  torture  an  attractive  career? 
,    There  is  only  one  answer — 

She  will  still  be  essentially  Margaret  Sulla- 
/an,  no  matter  whom  she  marries — and  so  sin- 
cere is  her  unhappy  dislike  of  a  screen  star's 
ife,  that  no  mere  wedding  ring  can  transform 
ts  aura  from  gray  to  golden. 
I  Of  course,  marriage  or  no  marriage,  she  can't 
ust  quit.  She's  a  very  valuable  piece  of  screen 
roperty,  whether  she  likes  it  or  not — and  Uni- 
ersal  has  a  contract  with  her  for  two  more 
ears. 

But  she  is  just  enough  of  a  life  loving,  free- 
om  seeking  person  to  go  in  for  this  marriage 
ith  her  whole  soul,  found  a  home  and  raise  a 
imily! 

So  take  a  good  look,  a  long  lingering  look  at 
largaret  Sullavan  in  "The  Good  Fairy,"  for 
iat  picture  and  the  one  after  it  might  be  your 
st  chance  to  see  her  for  some  time. 


IO9 

I  ivacious  little  Toby  Wing,  Paramount 
feature  player,  and  S.  J.  I'erelman,  fa- 
mous humorist  now  writing  for  Para- 
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re 


Here's  How!"  says  Wing  to  Perelman 

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Address . 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  17  ] 


LOST  JUNGLE,  THE— Mascot.— Clyde  Beatty 
gives  an  exciting  performance  with  both  lions  and 
tigers  in  the  big  cage.  And  his  South  Sea  Isle  ex- 
periences add  to  thrills.      (Sepl.) 

LOST  LADY,  A— First  National.— VVilla  Cather's 
novel,  considerably  revamped.  Barbara  Stanwyck 
fine  in  title  role;  Frank  Morgan  and  Ricardo  Cortez 
satisfactory.     (Nov.) 

LOUD  SPEAKER,  THE— Monogram.— Familiar 
story  of  small-town  boy  (Ray  Walker)  who  makes 
good  on  the  air,  but  can't  stand  success.  Jacqueline 
Wells  is  the  girl  in  this  pleasing  picture.    (July) 

LOUISIANA— Robert  Mintz  Prod.— Some  of  the 
scenes  in  this  odd  film  about  a  group  of  Negroes  torn 
between  their  pastor's  teaching  and  Voodooism  are 
really  fascinating.  Beautiful  voices  are  heard  in 
spirituals.      (Sept.) 

LOVE  CAPTIVE,  THE— Universal.— A  confused 
issue  over  use  of  hypnotism  in  certain  illnesses.  Nils 
Asther,  Gloria  Stuart  and  supporting  cast  fine,  but 
story  is  weak.      (Aug.) 

LOVE  TIME— Fox.— The  struggles  of  Franz 
Schubert  (Nils  Asther);  his  love  for  a  princess  (Pat 
Paterson);  her  father's  (Hen,ry  B.  Walthall)  efforts  to 
separate  them.     Lovely  scenes,  lovely  music.     (Dec.) 

MADAME  DU  BARRY— Warners— An  elabo- 
rate and  diverting  presentation  of  Madame  Du- 
Barry's  (Dolores  Del  Rio)  pranks  in  the  French 
Court.  King  Louis  XV  is  brilliantly  portrayed  by 
Reginald  Owen.      (Aug.) 

•  MANHATTAN  MELODRAMA— M-G-M. 
— Powerful  drama  about  the  friendship  of  two 
men — district  attorney  William  Powell  and  gambler 
Clark  Gable — and  the  tragic  climax  of  that  friend- 
ship.   Myrna  Loy  does  fine  work.    (July) 

MAN  FROM  UTAH,  THE— Monogram— Thrill- 
ing rodeo  shots  speed  up  this  Western  in  which 
John  Wayne  exposes  the  racketeers.  Polly  Ann 
Young  is  the  feminine  interest.      (Aug.) 

MAN  WITH  TWO  FACES,  THE— First  Nation- 
al.— Clear  cut  character  drawing,  intelligent  direction 
and  Edward  G.  Robinson  make  this  a  decidedly  good 
show.  Mary  Astor,  Ricardo  Cortez,  Louis  Calhern. 
(Aug.) 

MANY  HAPPY  RETURNS— Paramount.— Just 
a  bucket  of  nonsense,  with  George  Burns,  Gracie 
Allen,  Joan  Marsh  and  supporting  players  causing  a 
riot  of  fun.    (July) 

MENACE — Paramount. — Mystery.  Starts  weak, 
but  picks  up,  and  you'll  be  well  mystified.  A  mad, 
man  threatens  Gertrude  Michael,  Paul  Cavanagh- 
and  Berton  Churchill  whom  he  blames  for  his 
brother's  suicide.     (Dec.) 

MERRY  FRINKS,  THE— First  National— Aline 
MacMahon,  Hugh  Herbert,  Allen  Jenkins,  Frankie 
Darro,  Joan  Wheeler  and  Guy  Kibbee  are  all  valuable 
in  making  up  a  comedy  well  worth  your  time.  (Aug) 

•  MERRY  WIDOW,  THE— M-G-M— Oper- 
etta striking  a  new  high  in  lavish  magnificence. 
Jeanette  MacDonald  and  Maurice  Chevalier  rate 
honors  for  their  performances.     (Nov.) 

MERRY  WIVES  OF  RENO— Warners.— This 
feeble  and  unamusing  tale  is  too  much  even  for  the 
capable  cast,  including  Margaret  Lindsay,  Donald 
Woods,   Ruth   Donnelly,   Guy    Kibbee.      (Aug.) 

MIDNIGHT  ALIBI— First  National.— As  the 
gang  leader  who  loves  the  sister  (Ann  Dvorak)  of  a 
rival  gangster,  Richard  Barthelmess,  comes  through 
in  fine  style.    New  plot  twist.     (Aug.) 

MILLION  DOLLAR  RANSOM— Universal— In 
the  role  of  a  former  liquor  baron  trying  to  go  straight, 
Edward  Arnold  is  superb.  Phillips  Holmes  and 
Mary  Carlisle  do  nice  work,  too.     (Oct.) 

MONTE  CARLO  NIGHTS— Monogram.— This 
screen  adaptation  doesn't  do  the  E.  Phillips  Oppen- 
heim  story  justice.  But  Mary  Brian  and  Johnny 
Darrow  do  their  best  to  entertain  you.    (July) 

MONEY  MEANS  NOTHING— Monogram.— A 
few  dull  spots,  but  on  the  whole  this  yarn  about  the 
shipping  clerk  (Wally  Ford),  who  marries  the 
wealthy  girl  (Gloria  Shea)  is  amusing.      (Aug.) 

MOONSTONE,  THE  —  Monogram.  —  David 
Manners  and  Phyllis  Barry  do  a  good  acting  job  in 
spite  of  poor  direction  and  a  loose  screen  play.    (Oct.) 


MOST  PRECIOUS  THING  IN  LIFE— Colum- 
bia.— Jean  Arthur's  superb  performance  is  wasted 
in  this  familiar  tale  of  the  mother  who  turns  up  in 
the  son's  (Richard  Cromwell)  later  life  as  the  "biddy" 
in  his  college  dormitory.      (Aug.) 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH— 

Paramount. — Interesting  adaptation,  with  Pauline 
Lord,  ZaSu  Pitts,  W.  C  Fields  and  a  host  of  other 
fine  players.     (Nov.) 

•  MURDER  AT  THE  VANITIES— Para 
mount. — Two  backstage  murders  make  the 
opening  night  of  Earl  Carroll's  show  a  memorable 
one.  Carl  Brisson,  Kitty  Carlisle  and  a  host  of  well- 
known    players   in   support.      (Alt?.) 

MURDER  IN  THE  PRIVATE  CAR— M-G-M.— 

A  riot  of  thrills  and  nonsense  cover  up  weak  spots  in 
plot.  Mary  Carlisle,  Una  Merkel,  Charles  Ruggles, 
Russell  Hardie  all  well  cast.     (Sept.) 

MURDER  IN  TRINIDAD— Fox.— While  Nigel 
Bruce  investigates  smuggling  of  diamonds  out  of 
Trinidad,  two  men  are  killed.  Exciting  melodrama 
Victor  Jory,  Heather  Angel.      (Aug.) 

MURDER    ON     THE    BLACKBOARD— RKO- 

Radio. — Plenty  of  action,  suspense  and  chills,  with 
Edna  May  Oliver  superb  in  a  humorous  Philo 
Vance  role.  Jimmy  Gleason  and  Regis  Toomey 
(Aug.) 

MYSTIC  HOUR,  THE— Progressive— Crooked- 
est  crooks,  fightingcst  fights,  tag  with  fast  trains, 
middle-aged  hero,  dastardly  villain,  his  bee-ootiful 
ward.  But  no  custard  pies.  Montagu  Love.  Charles 
Hutchison,  Lucille  Powers.    (Dec.) 

NELL  GWYN— British  &  Dominion-United 
Artists. — Sir  Cedric  Hardwicke  and  Anna  Neagle 
in  a  weak  screen  story  on  the  life  of  the  lowly  actress 
who  became  a  favorite  of  King  Charles  II.     (Oct.) 

NOTORIOUS  SOPHIE  LANG,  THE  —  Par- 
amount.— Comedy-melodrama  with  Gertrude  Michael 
and  Paul  Cavanagh  as  crooks  vying  for  first  place 
in  their  profession.     Alison  Skipworth.     (Sept.) 

•  NOW  AND  FOREVER— Paramount— Baby 
Shirley  Temple  scores  again  as  vagabond 
adventurer  Gary  Cooper's  motherless  tot.  Carole 
Lombard  is  Gary's  beautiful  love.  Principals  and 
support  A-l.      (Oct.) 

NOW  I'LL  TELL — Fox. — An  interesting  account 
of  the  life  of  the  famous  gambler,  Arnold  Rothstein, 
by  his  widow.  Spencer  Tracy  is  excellent  in  the  lead. 
Helen  Twelvetrees  plays  his  wife.  Alice  Faye  and 
fine  support.    (July) 

•  OF  HUMAN  BONDAGE  —  RKO-Radio.  — 
Deft  adaptation  of  Somerset  Maugham's  novel 
about  a  cripple  (Leslie  Howard)  hopelessly  in  love 
with  a  vicious  woman  (Bette  Davis).  Expert  char- 
acterizations by  principals,  Frances  Dee,  Reginald 
Owen  and  Alan  Hale.     (Sept.) 

•  OLD-FASHIONED  WAY,  THE  —  Par- 
amount. —  Paralyzing  gags,  situations  and 
lines  in  this  Gay  Nineties  story  featuring  W.  C.  Fields, 
Baby  LeRoy,  Judith  Allen,  Joe  Morrison  and  revival 
cast  of  stage  play  "The  Drunkard."      (Sept.) 

ONCE   TO    EVERY    BACHELOR— Liberty.— A 

veteran  comedy-drama  plot,  but  the  cast  gives  it  life 
and  sparkle.  Marian  Nixon,  Neil  Hamilton  and 
Aileen  Pringle.      (Aug.) 

ONE  EXCITING  ADVENTURE— Universal- 
Striving  for  suavity  robs  story  of  much  charm.  Neil 
Hamilton  reforms  Binnie  Barnes,  who  picks  up 
diamonds  hither  and  thither.  Has  laughs,  and  Paul 
Cavanagh,  Eugene  Pallette,  Grant  Mitchell.     (Dec.) 

ONE  MORE  RIVER — Universal. — Americans 
will  find  this  account  of  Diana  Wynyard's  affair  with 
Frank  Lawton,  resulting  in  a  divorce  from  her  cruel 
husband,  a  trifle  ponderous.     (Oct.) 

•  ONE  NIGHT  OF  LOVE— Columbia.— An 
unusual  musical  romance.  With  your  eyes 
open  or  closed,  it's  an  evening  for  the  gods.  Grace 
Moore's  voice  is  glorious.  Lyle  Talbot  and  Tullio 
Carminatti.     (Aug.) 

•  OPERATOR  13— M-G-M— Marion  Davies 
does  fine  work  as  a  spy  in  this  Southern 
extravaganza  with  Civil  War  background.  Gary 
Cooper  is  a  spy  for  the  opposite  side.      (Aug.) 

ORDERS    IS    ORDERS— Gaumont-British. — An 

amusing  skit  with  all-English  cast  excepting  Jimmy 
Gleason  and  Charlotte  Greenwood,  who  are  a 
comedy  riot,      (.-lug.) 


OUR  DAILY  BREAD— United  Artists.— Frankly 
communistic,  this  film  portrays  community  ranch 
life,  climaxing  with  a  victory  over  drought.  Karen 
Morley,  Tom  Keene  and  Barbara  Pepper  fine.    (Sept.) 

OUTCAST  LADY— M-G-M.— Every  cast  mem- 
ber— including  Constance  Bennett,  Herbert  Mar- 
shall, Ralph  Forbes,  Hugh  Williams— does  his  utmost. 
But  this  rambling  presentation  of  Michael  Arlen's 
"Green  Hat"  hampers  their  efforts.     (Nov.) 

OVER  NIGHT— Mundis  Distributing  Corp.— 
Crook  melodrama,  but  no  suspense.  Story  is  tele- 
graphed ahead.  But,  it  has  engaging  Robert  Donat 
and  beautiful  Pearl  Argyle.     (Dec.) 

PARIS  INTERLUDE—  M-G-M.— Good  story  idea 
and  setting,  but  disjointed  telling.  Hero  worship  is 
theme — Robert  Young's  somewhat  shoddy  idol  being 
Otto  Kruger,  an  adventurous  newspaper  man.  Fine 
cast  includes  Madge  Evans.     (Oct.) 

PARTY'S  OVER,  THE— Columbia.— In  this 
one,  it's  anything  for  a  laugh.  Stuart  Erwin,  satis- 
factory as  the  youth  burdened  by  a  shiftless  family. 
Ann  Sothern,  William  Bakewell.  Arline  Judge  ade- 
quate.   (July) 

•  PECK'S  BAD  BOY— Fox.— The  story  so 
many  of  us  have  enjoyed  in  days  gone  by, 
effectively  screened.  Jackie  Cooper  is  the  "bad 
boy,"  and  Thomas  Meighan  is  Mr.  Peck.     (Nov.) 

PERSONALITY  KID,  THE— Warners.— Not  a 
new  plot,  but  it's  well  handled.  Pat  O'Brien,  as  an 
egotistical  prize-fighter  is  okay.  Glenda  Farrell 
plays   his   wife.     (Aug.) 

PURSUED — Fox. — Too  hilariously  melodramatic 
to  be  true.  Everyone,  including  cast — Rosemary 
Ames,  Pert  Kelton,  Victor  Jory,  Russell  Hardie— 
must  have  been  kidding  when  they  made  this  picture. 
(Nov.) 

PRIVATE  SCANDAL— Paramount.— Comedy- 
mystery  which  doesn't  succeed  in  being  either.  Lew 
Cody  is  murdered  and  daughter  Mary  Brian's  fiance, 
Phillips  Holmes,  is  the  chief  suspect.  ZaSu  Pitts  and 
Ned  Sparks.    (July) 

•  PURSUIT  OF  HAPPINESS,  THE  Para- 
mount.— Hinges  on  the  long-gone  custom  used 
to  eke  out  the  firewood,  "bundling";  a  Hessian  soldier 
and  a  Colonial  lass  in  Revolutionary  War  days. 
Francis  Lederer,  Joan  Bennett,  Charles  Ruggles, 
Mary  Boland,  Barbara  Barondess.  Very  amusing. 
(Dec.) 

RANDY  RIDES  ALONE— Monogram.— Western 
devotees  will  enjoy  seeing  John  Wayne  track  down  a 
band  of  outlaws  led  by  George  Hayes,  Alberta 
Vaughn.     (Sept.) 

READY  FOR  LOVE — Paramount. — Amusing, 
should  please  entire  family.  Richard  Aden,  news- 
paper owner,  mistakes  Ida  Lupino  for  the  inamorata 
of  the  town's  leading  citizen.  Marjorie  Rambeau, 
Trent  Durkin,  Beulah  Bondi.     (Dec.) 

REDHEAD — Monogram. — Grace  Bradley  doesn't 
subscribe  to  the  theory  you  shouldn't  marry  a  man  to 
reform  him.  She  does,  and  it  works.  Bruce  Cabot 
the  man.     (Dec.) 

•  RETURN  OF  THE  TERROR— First  Nation- 
al.— A  chilling  mystery  that  has  for  its  locale  a 
sanitarium  for  the  insane.  John  Halliday,  Mary 
Astor  and  Lyle  Talbot  are  right  up  to  par.  Suspense 
well  sustained.     (Aug.) 

•  RICHEST  GIRL  IN  THE  WORLD,  THE— 
RKO-Radio. — Miriam  Hopkins  does  grand  job 
in  title  role,  as  girl  who  wants'  Joel  McCrea  to  love  her 
for  herself  alone.     Fay  Wray.     (Nov.) 

ROCKY  RHODES— Universal.— Good  fare  for 
Western  devotees,  with  fist  fights  and  lots  of  fast 
riding  by  Buck  Jones.     (Nov.) 

•  ROMANCE  IN  THE  RAIN— Universal— An 
amusing  fantastic  semi-musical  with  Roger 
Pryor,  Victor  Moore  and  Heather  Angel,  handsomely 
mounted  and  uproariously  funny.     (Oct.) 

•  SADIE  McKEE— M-G-M.— Joan  Crawford 
is  in  her  real  dramatic  metier,  but  the  film  is 
highlighted  by  Edward  Arnold's  superb  drunk  scenes. 
Gene  Raymond  and  Franchot  Tone  do  fine  work. 
Thoroughly  entertaining.    (July) 

SCARLET  EMPRESS— Paramount.— An  unin- 
spired presentation  of  the  life  of  Catherine  the  Great, 
with  Marlene  Dietrich  as  the  princess,  and  Sam  Jaffee 
as  Grand  Duke  Peter.  John  Lodge,  Louise  Dresser. 
Exquisite  settings.    (July) 


no 


Photoplay  Magazine  for  January,  1935 


I  I  I 


SCARLET  LETTER,  THE— Majestic— A  revival 
f  the  classic  with  Colleen  Moore.  Hardie  Albright 
nd  little  Cora  Sue  Collins  turning  in  convincing 
erformances.     (Oct.) 

SCHOOL   FOR   GIRLS  LIBERTY— Life  in  a 

iris  reform  school,  in  the  raw.  Sidney  Fox.  Lois 
Vilson.  Paul  Kelly  try  hard,  but  it's  a  wearisome 
arn  just  the  same.     (Nov.) 


Fox. 


Janet 


k       SERVANTS'  ENTRANCE 

W  Gaynor  devotees  will  enjoy  seeing  her  in  this 
ury-tale  story  as  wealthy  Walter  Connolly's  daugh- 
•r  in  love  with  chauffeur  Lew  Ayres.     (Oct.) 

SHE  HAD  TO  CHOOSE— Majestic— After 
basing  her  old  Ford  as  far  as  Buster  Crabbe's 
ariiecue  stand,  there's  lots  of  excitement  for  Isabel 
ewell.     Good  comedy.     (Oct.) 

SHE    LEARNED    ABOUT    SAILORS— Fox  — 

fast,  clean  comedy  in  which  sailor  Lew  Ayres  finds 
lenty  of  opposition  when  he  tries  to  get  gay  with 
.lice  Faye.  Mitchell  and  Durant  mix  tilings  up 
lenty.     Harry  Green  fine.     (Sept.) 

k  SHE  LOVES  ME  NOT— Paramount.— Smart 
AT  treatment  of  the  stage  success  puts  this  way  out 
ont  as  clever  entertainment.  Bing  Crosby  gives  an 
-1  performance,  and  you  will  meet  a  brand-new 
liriam  Hopkins.     (Sept.) 

SHE  WAS  A  LADY — Fox. — Just  so-so  entertain- 
lent.  with  Ralph  Morgan  married  to  his  mothers 
laid,  Doris  Lloyd,  and  Helen  Twelvetrees  as  their 
aughter.     Excellent  performances.     (Oct.) 

SHOCK — Monogram. — A  sentimental  and  im- 
robable  story  of  the  World  War,  in  which  officer 
lalph  Forbes  leaves  bride-of-a-day  Gwenllian  Gill  to 
;turn  to  the  front,  only  to  be  shell-shocked.     (Oct.) 

k  SHOOT  THE  WORKS— Paramount. — 
*T  Heartaches  and  rib-tickles  of  "show  business" 
ut  to  music  and  woven  into  a  top-notch  story.  Jack 
'akie  and  Ben  Bernie  excellent.  Tragic  note  is 
resence  of  the  late  Dorothy  Dell  and  Lew  Cody. 
Sept.) 


SISTERS  UNDER  THE  SKIN— Columbia.— 
lever  dialogue  and  well-shaded  portrayals  by  Frank 
loigan,  Elissa  Landi,  Doris  Lloyd  and  Joseph 
childkraut  makes  this  worthwhile  film  fare.    (July) 

'  6  DAY  BIKE  RIDER— First  National.— Typical 
oe  E.  Brown,  plus  thrilling  racing  and  good  gags, 
ity  slicker  Gordon  Westcott  steals  Joe  E.'s  girl, 
laxine  Doyle.  But  Joe  E.  outpedals  Gordon  and — 
;rank  McHugh  good.     (Dec.) 

SMARTY— Warners.— This  marital  game  in 
■liich  Joan  Blondell  switches  from  Warren  William 
i  Edward  Everett  Horton,  then  back  to  William 
gain,  manages  to  be  quite  amusing.  Claire  Dodd 
nd  Frank  McHugh  help.    (July) 

SMOKING  GUNS— Universal.— Perhaps  chil- 
ren  will  like  this  Ken  Maynard  horse  opera,  but  it's 
retty  certain  the  oldsters  won't  think  much  of  it. 
lloria  Shea.    (July) 

SORRELL  AND  SON— British  &  Dominion- 
fnited  Artists. — Warwick  Deeping's  famous  story  of 
he  love  of  a  father  and  son  is  beautifully  told. 
I.    B.    Warner    splendid.     (Aug.) 

SPRINGTIME  FOR  HENRY— Fox.— Ace  high 
erformances  by  Otto  Henry  Kruger  and  Nigel 
"ohnny  Bruce,  both  under  Spring's  influence.  A  gay, 
laughty    whimsey,    with    Nancy    Carroll,    Heather 


.ngel  and  Herbert  Mundin.    (July) 

STAMBOUL  QUEST  —  M-G-M.  —  Myrna  Loy 
/ell  cast  as  the  compatriot  of  Mata  Hari.  George 
ilrent  is  an  American  doctor,  Lionel  Atwill  a  Secret 

ervice  man,  and  C.  Henry  Gordon  once  again  the 

illain.     Good  suspense.     (Sept.) 

STAR  PACKER,  THE—  Monogram.— Discover- 
lg  the  identity  of  The  Shadcnu  (George  Hayes)  is  no 
asy  task,  but  John  Wayne  comes  through  in  fine 
tyle.    Verna  Hillie.     (Sept.) 

STINGAREE— RKO-Radio.—  An  unusual  pro- 
uction,  having  Australia  for  locale.  Irene  Dunne's 
oice  is  exquisite,  and  Richard  Dix,  as  the  bandit 
lingaree,  ably  portrays  his  character.  Conway 
'carle,  and  good  support.   (July) 

STOLEN  SWEETS— Chesterfield.— Pretty  poor 
creen  fare,  with  Sallie  Blane  as  the  heiress  who 
an't  make  up  her  mind  between  the  nice  boy  she's 
ngaged  to  and  the  second-rater  she's  ir  love  with, 
Charles  Starrett.     (A  ug.) 


L,  STRAIGHT  IS  THE  WAY— M-G-M.— De- 
W  termined  to  go  straight  after  a  "stretch," 
'"ranchot  Tone  fights  influence  of  the  old  mob  led  by 
ack  LaRue.  Powerfully  constructed  drama.  May 
lobson  and  Karen  Morley.    (Oct.) 


STRICTLY  DYNAMITE— RKO-Radio.— De- 
spite the  popular  cast — Lupe  Velez,  Jimmy  Durante, 
William  Gargan,  Norman  Foster,  Marian  Nixon, 
Sterling  Holloway — this  is  a  pretty  weak  attempt  at 
humor.    (July) 

STUDENT  TOUR— M-G-M.— A  floating  college 
used  for  a  musical  background.  Charles  Butter- 
worth,  Jimmy  Durante,  Phil  Regan,  Maxine  Doyle, 
Nelson  Eddy,  Monte  Blue,  Florine  McKinney.  (Dec.) 

SUCCESSFUL  FAILURE,  A  —  Monogram.  — 
William  Collier  becomes  a  philosopher  of  the  air, 
bringing  fame  and  welcome  cash  to  his  surprised 
family.  Lucille  Gleason.  Russell  Hopton,  Gloria 
Shea,  William  Janney.     (Dec.) 

•  SUCH  WOMEN  ARE  DANGEROUS— 
Fox. — Splendid  casting,  genuine  situations, 
suspense,  and  deft  direction  put  this  up  with  the  best 
of  them.  Warner  Baxter  is  a  novelist,  and  Rochelle 
Hudson  the  young  poetess  infatuated  by  him.  Mona 
Barrie.   (July) 

•  TARZAN  AND  HIS  MATE— M-G-M— A 
breath-taking  production  that  skilfully  blends 
realism  and  fantasy.  Tprzati  Johnny  Weissmullcr, 
Maureen  O'Sullivan  and  Neil  Hamilton  are  aptly 
directed  by  Cedric  Gibbons.  Perhaps  too  gory  for 
young  children.    (July) 

TELL-TALE  HEART,  THE  —  Clifton-Hurst 
Prod. — This  gruesome  Edgar  Allan  Poe  tale  is  effec- 
tively screened,  but  it  is  not  recommended  for 
children.     All-English  cast.     (Sept.) 

THAT'S  GRATITUDE— Columbia.— An  amus- 
ing story,  written,  directed  and  acted  by  Frank 
Craven.  Helen  Ware,  Arthur  Byron,  Mary  Carlisle, 
Charles  Sabin  in  good  support.     (Nov.) 

THEIR  BIG  MOMENT— RKO-Radio.— ZaSu 
Pitts  and  Slim  Summerville  are  the  only  recommenda- 
tions for  this  vague  and  sometimes  confusing  film. 
Dialogue  mediocre  and  gags  aren't  too  funny.     (Oct.) 

THERE'S  ALWAYS  TOMORROW— Universal. 

■ — Frank  Morgan  turns  in  top-notch  job  as  taken-for- 
granted  father.     Binnie  Barnes,  Lois  Wilson.     (Nov.) 

•  THIN  MAN,  THE— M-G-M.— See  retired 
detective  William  Powell  fall  right  "into" 
the  baffling  murder  case  he  wouldn't  go  "on,"  and 
have  the  time  of  your  life.  Myrna  Loy  top-notch. 
(Aug.) 

THIRTY  DAY  PRI  NCESS— Paramount  — 
Sparkling  humor,  with  a  touch  of  satire  in  this  yarn 
about  mythical-kingdom  princess  Sylvia  Sidney's 
eventful  visit  to  America.  Cary  Grant  handles  his 
role  with  finesse.    (July) 

365    NIGHTS    IN    HOLLYWOOD— Fox— No 

justice  to  its  locale.  Jimmy  Dunn,  a  has-been 
director,  makes  a  comeback  and  wins  leading  lady 
Alice  Faye.  Frank  Mitchell,  Jack  Durant  bright 
spots.    Grant  Mitchell.     (Dec.) 

TOMORROW'S  CHILDREN— Bryan  Foy  Prod. 
— An  argument  against  the  delicate  subject  of 
sterilization  for  the  habitual  drunkard,  the  weak- 
minded  and  the  congenitally  crippled.  Sterling 
Holloway.    Diane  Sinclair.     (Aug.) 

TOMORROW'S  YOUTH  — Monogram.— Dull. 
Philandering  husband  John  Miljan.  Wife  Martha 
Sleeper.  Other  woman  Gloria  Shea.  Near  tragedy 
to  son,  Dickie  Moore.     He's  touching.     (Dec.) 

TRAIL  BEYOND,  THE— Monogram.— Sup- 
posedly a  Western,  but —  Anyhow,  gorgeous  scenery, 
beautifully  photographed.  John  Wayne,  Verna 
Hillie,  Noah  Beery,  Robert  Frazer,  others.     (Dec.) 

•  TREASURE  ISLAND  —  M-G-M.  —  A 
beautiful,  moving,  inspiring  adventure  film  for 
children  and  grownups  alike.  Lionel  Barrymore, 
Jackie  Cooper,  Wallace  Beery,  Chic  Sale,  Otto 
Kruger  and  Nigel  Bruce  have  the  leading  roles. 
(Sept.) 

*20th  CENTURY— Columbia.— Fast-moving, 
hilarious  comedy,  satirically  veneered.  As  the 
eccentric  producer,  molding  shop-girl  Carole  Lom- 
bard into  a  star,  John  Barrymore  is  superb.  Walter 
Connolly  and  excellent  supporting  cast.    (July) 

TWIN  HUSBANDS— Invincible.— Lots  of  sus- 
pense, action  and  romance,  but  the  story  is  a  bit  too 
melodramatic.  John  Miljan,  as  a  polished  crook, 
does  a  good  acting  job.     Shirley  Grey.     (Aug.) 

TWO  HEADS  ON  A  PILLOW  —  Liberty.  — 
Smooth,  well-rounded,  amusing  semi-farce,  with 
Miriam  Jordan  and  Neil  Hamilton,  both  lawyers, 
opposing  each  other  in  court  over  the  subject  that  has 
caused  their  separation.     (Sept.) 

UNCERTAIN  LADY— Universal.— A  comedy  of 
errors,  with  Edward  Everett  Horton  making  most  of 
the  errors,  and  Genevieve  Tobin  willing  to  divorce 
him  if  he'll  find  her  another  husband.    (July) 


Stop  a 

COLD 

the  First 
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Drive  It  Out  of  Your  System 
— Roots  and  All! 

A  COLD  once  rooted  is  a  cold  of  danger! 
Trust  to  no  makeshift  methods. 

A  cold,  being  an  internal  infection,  calls 
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A  cold  also  calls  for  a  COLD  remedy  and 
not  a  preparation  good  for  a  number  of  other 
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Only  Grove's  Laxative  Bromo  Quinine  sup- 
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Get  Grove's  Laxative  Bromo  Quinine  at 
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Listen  to  Pat  Kennedy,  the  Unmasked  Tenor 
and  Art  Kassel  and  his  Kassels-in-the-Air 
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and  Thursday,  1:45  p.  m.  Eastern  Standard 
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I  12 


"WHY  JEAN!  How  did 
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Photoplay  Magazine  for  January,  19; 

UNKNOWN  BLONDE— Majestic— The  fine 
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Miljan  is  the  only  tiling  that  makes  this  yarn  about 
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WAGON  WHEELS— Paramount.— Familiar  Zane 
Grey  Western  plot.  But  there  is  a  good  song — and 
Gail  Patrick.  Randolph  Scott  is  hero;  Monte  Blur, 
the  villain.     (Nov.) 

WAKE  UP  AND  DREAM— Universal— A  field 
day  for  June  Knight,  Roger  Pryor  and  Henry 
Armetta,  despite  the  late  Russ  Columbo's  unsur- 
passed vocalizing.  (Nov.) 

WEDNESDAY'S  CHILD  —  RKO-Radio.  —  A 
moving  preachment  against  divorce.  Edward  Arnold 
and  Karen  Morley.  Frankie  Thomas  the  child 
victim.  Should  see  him;  he  was  in  the  stage  plav. 
(Dec.) 

•  WE  LIVE  AGAIN— Samuel  Goldwyn-United 
Artists. — Tolstoi's  "Resurrection''  again.  But 
that  simple  story  is  given  such  a  sincere  humbleness 
it  plumbs  your  heart.  Anna  Sten,  Fredric  March, 
and  an  excellent  supporting  cast  give  it  to  you.   (Dec.) 


WE'RE  NOT  DRESSING— Paramount.— Sailor 
Bing  Crosby  romancing  with  wealthy  Carole  Lom- 
bard, George  Burns  and  Gracie  Allen  do  a  knock-out 
show.  Lots  of  grand  songs,  too,  with  Ethel  Merman 
doing  her  bit.    (July) 

WE'RE  RICH  AGAIN  —  RKO-Radio.  —  This 
merry  marital  madhouse  revolves  around  a  family's 
attempt  to  marry  off  Joan  Marsh  to  wealthy  Reginald 
Denny.  But  country  cousin  Marian  Nixon  gets  him 
in  the  end.     (Sept.) 


•  WHAT  EVERY  WOMAN  KNOWS  — 
M-G-M. — Expert  adaptation  of  the  James  M. 
Barrie  play,  brilliantly  acted  by  Helen  Hayes,  Brian 
Aherne  and  capable  supporting  cast.  A  sly,  human 
fantasy,  delightfully  real.     (Nov.) 


WHEN  STRANGERS  MEET— Liberty— The 
Grand  Hotel  idea,  applied  to  a  bungalow  court, 
where  two  murders  occur.  Richard  Cromwell  and 
Arline  Judge  supply  the  love  interest.     (Aug.) 

•  WHERE  SINNERS  MEET— RKO-Radio.— 
A  bachelor's  hobby  of  waylaying  couples 
eloping  over  the  Dover  Road,  provides  interesting 
screen  material.  Clive  Brook,  Diana  Wynyard, 
Billie  Burke,  Alan  Mowbray,  and  especially  Reginald 
Owen  give  brilliant  performances.    (July) 


WHIRLPOOL— Columbia.— Powerful  melodrama 
in  which  Jack  Holt,  railroaded  on  murder  charge, 
fakes  death  notice  to  free  wife  Lila  Lee.  Later,  he 
makes  even  greater  sacrifice  for  daughter  Jean 
Arthur.    Donald  Cook.    (July) 


WHITE  HEAT— Seven  Seas  Prod.— A  fistic  com- 
bat between  David  Newell  and  Hardie  Albright,  and 
a  sugar  cane  fire  help  to  liven  this  film  with  Hawaiian 
locale.  Mona  Maris  and  Virginia  Cherrill  adequate. 
(Sept.) 


WHOM  THE  GODS  DESTROY— Columbia- 
Heavy  melodrama,  impressive  because  of  fine  acting 
of  Walter  Connolly.  Dori?  Kenvon,  Robert  Young. 
(Oct.) 


WILD  GOLD — Fox. — Good  cast,  but  this  misses 
being  the  saga  of  the  old  ghost  mining  towns  by  a 
long  shot.  John  Boles  plays  drunken  engineer  in  love 
with  Claire  Trevor,  and  Roger  Imhof  is  a  desert 
prospector.    (July) 


WITCHING  HOUR,  THE— Paramount.— If 
hypnotism  has  any  appeal,  you'll  enjoy  this  screen 
version  of  Augustus  Thomas'  famous  play.  John 
Halliday,  possessor  of  uncanny  hunches,  Tom  Brown, 
Judith  Allen,  Sir  Guy  Standing  all  do  well.    (July) 


WOMAN  COMMANDS,  THE— Gaumont-Brit- 
ish. — An  all-English  cast,  with  exception  of  Edward 
Everett  Horton  who  has  appeared  to  better  ad- 
vantage.    Just  so-so  comedy.     (Aug.) 


WORLD  MOVES  ON,  THE— Fox.— Madeleine 
Carroll,  English  beauty,  begins  her  American  film 
career  in  this  somewhat  uneven  picture.  Franchot 
Tone  and  Dudley  Digges  turn  in  suave  performances. 
(Sept.) 


•  YOU  BELONG  TO  ME— Paramount- 
Master  David  Jack  Holt  manages  to  outshine 
troupers  Lee  Tracy,  Helen  Mack,  Helen  Morgan, 
though  they  are  all  in  top  form.     (Nov.) 


YOUNG  AND  BEAUTIFUL— Mascot— Perhaps 
the  array  of  1°34  Baby  Wampas  Stars  and  fact  that 
it  is  Bill  Haines'  "comeback"  will  compensate  for 
weakness  of  plot.     (Nov.) 


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Salute  May  Robson! 


One — a  beautiful  ingenue,  herself.  One  as 
Tilly,  a  slovenly  servant  girl. 

The  play,  "The  Hoop  of  Gold,"  opened  on 
September  17,  1883,  and  in  her  very  first  per- 
formance May  learned  the  most  valuable  lesson 
of  her  whole  career. 

HpHE  audience  took  the  beautiful  ingenue  for 
■*■  granted.  But  they  shouted  with  laughter 
at  Tilly.  So  May  decided  then  and  there  to  play 
characters,  and  only  characters.  The  satisfac- 
tion of  looking  beautiful  couldn't  compare  with 
the  laughs  and  the  applause  one  rated  for  being 
funny. 

It  was  a  smart  decision. 

Her  husband  died,  and  several  years  later 
she  married  Dr.  A.  H.  Brown,  who  was  then  a 
young  Harvard  medical  student.  This  was  an 
ideally  happy  association.  Always  devoted 
and  considerate,  Dr.  Brown  never  wished  to 
interfere  with  his  wife's  career  on  the  stage; 
rather,  he  encouraged  it.  He  became  a  surgeon 
with  an  extensive  practice,  and  May  became  a 
Frohman  star.  Dr.  Brown  died  in  1923,  after 
more  than  thirty  years 
of  an  ideally  happy  mar- 
riage. 

Long  before  this, 
May's  friendship  with 
Marie  Dressier  had  been 
formed,  and  once  they 
made  a  memorable  trip 
to  England  on  a  storm- 
tossed  old  steamer,  quite 
positive  they  would 
never  reach  the  shore 
j  alive. 

May  played  "  The 
Rejuvenation  of  Aunt 
Mary"  over  there  and 
then  for  a  four-year  run 
without  a  break  in  New 
York.  It  is  one  of  the 
theatrical  successes  that 
will  go  down  in  history. 
She  never  had  a  failure 
on  the  stage  and  never 
closed  a  play  with  less 
than  a  season's  run. 

In  1924,  she  starred 
in  several  silent  pictures 
'for  Cecil  B.  DeMille. 

Her  first  starring 
jsound  picture  was"  You 
Can't  Buy  Everything," 
but  her  greatest  personal 
[success  was  "Lady  for  a 
Day"  made  at  Columbia 
by  Frank  Capra.  She  has 
just  made  another  one 
'there,  ''Lady  By 
Choice,"  which  almost 
jtops  the  first. 
I  She  recently  finished 
['Woman  Aroused"  at 
RKO,  and  she  loved 
■  his  story  of  an  old- 
naid  school-teacher 
vhose  life  is  wrapped  up 
in  her  boys  and  girls. 
I  She  will  do  "The  Mills 
')f  the  Gods,"  for  Co- 
lumbia. This  time  a 
.  trong-willed  and  deter- 
nined  old  lady. 


[  CONTINUED  FROM  PAGE  67  ] 

Then  she  thinks  it  will  be  time  to  go  to  New 
York  and  take  a  long  rest. 

May's  favorite  characters  are  the  inebriated 
old  bats,  as  in  the  two  "Lady"  pictures. 

"When  I  go  out,  I  am  not  ashamed  to  ask 
for  a  glass  of  tomato  or  orange  juice,  when  the 
others  are  drinking  stronger  things,"  she  says. 
"I  am  an  old  lady,  you  see,  so  I  have  to  be 
humored. 

"  But  I  have  observed  many  inebriates  in  my 
day,  and  my  characterizations  are  taken  from 
them.  The  business  with  the  hat,  in  'Lady  By 
Choice,'  was  a  direct  study  of  a  woman  I  used 
to  know  who  sometimes  took  a  drink  too  many. 
She  was  never  concerned  about  anything  but 
her  hat. 

"  'Where's  m'  hat,  oh  dear,  oh  dear,  what 
did  I  do  with  my  hat?'  she  would  moan. 
Nothing  else  ever  concerned  her. 

"You  have  to  love  your  work  or  you  can't 
do  it  well.  You  have  to  be  looking  for  ways  to 
improve  it,  and  my  way  is  by  watching  people." 

May  has  a  poor  memory  for  names,  and  she 
and  Miss  Harmer  have  developed  a  pretty 


Florine  McKinney,  feminine  lead  of  "Night  Life  of  the  Gods,"  the  story 

of  a  museum  full  of  statues  on  the  loose,  has  a  little  fun  with  her  plaster 

double  in  the  Universal  production 


good  system  on  this.  Some  one  comes  up  to 
talk  with  them,  and  May  can't  remember  his 
name. 

She  squeezes  Miss  Harmer's  arm,  and  Miss 
Harmer  says,  "We  were  so  delighted,  Mr. 
Splivvits,  to  read  of  your  daughter's  success," 
or  some  such  statement  in  which  she  can  in- 
corporate the  name. 

/"\NE  recent  evening  when  Miss  Harmer 
^wasn't  near,  May  was  certainly  in  a  pre- 
dicament. 

She  had  been  to  a  man's  house  where 
there  is  a  perfectly  remarkable  parrot. 

(May  is  very  fond  of  birds  and  has  hundreds 
of  them.) 

The  parrot  had  a  trick  of  standing  on  one's 
forefinger  and  saying  "tickle,  tickle." 

One  night  at  a  theater,  May  thought  she  saw 
the  owner  of  the  parrot.    In  a  panic,  she  tried 
to  think  of  his  name.     That  failing,  she  ad- 
vanced and  squeaked,  "Tickle,  tickle,"  think- 
ing at  least  that  would  let  the  man  know  she 
remembered  him.     He  looked  at  her  with  a 
totally   blank   expres- 
sion.     She  tried  again. 
"Tickle,    tickle,"    said 
May,  coyly.    A  look  of 
fear,  amazement — acute 
discomfort  spread  over 
the    man's   face    as    he 
backed  away  and  quickly 
disappeared. 

Miss  Harmer  re- 
turned just  in  time  to 
see  his  face,  and  May 
told  her  the  episode. 
"Buthewasn'  t  the  man," 
explained  Miss  Harmer. 
Well,  you  can't  expect 
to  keep  all  the  people 
straight,  May  laughs. 
She  hopes  the  man,  who- 
ever he  was,  will  see  this 
and  find  out  that  she 
was  not  loony  at  the 
time. 


"X  A  AY  is,  surprisingly, 
■lv-Lonly  five  feet,  two 
inches  tall. 

She  weighs  a  hundred 
and  fifty  pounds,  and  is 
always  beautifully  and 
appropriately  dressed 
and  groomed. 

She  lives  in  a  small, 
comfortable,  unostenta- 
tious house,  in  a  section 
of  Hollywood  where  you 
seldom  find  picture 
people.  The  neighbors' 
youngsters  run  in  to  see 
the  birds,  and  to  hear  a 
story  as  only  May  can 
tell  it. 

She  swaps  recipes  with 
the  neighboring  house- 
wives. 

Dignity,  activity, 
ability  —  the  dominant 
factors  in  May  Robson's 
life. 

"Salute,"  then,  to  a 
grand  old  girl! 

113 


Mr.  Broadway  Gambles  Against  Hollywood 


CONTINUED  FROM  PAGE  38 


had  written  forty  plays  himself — among  them 
successes  such  as  "Get-Rich-Quick  Walling- 
f ord,"  "  Forty-Five  Minutes  From  Broadway," 
"The  Miracle  Man,"  "Seven  Keys  to  Bald- 
pate,"  "The  Song  and  Dance  Man,"  "The 
Tavern,"  and  many  others.  Whether  Holly- 
wood remembered  or  not,  the  script  of  "The 
Phantom  President"  was  never  given  benefit  of 
the  Cohan  touch! 

TN  the  second  place,  when  Cohan  went  to 
Hollywood  he  took  his  transposing  piano 
along.  But  he  never  had  a  chance  to  use  it. 
The  whole  world  had  marched  to  his  "Over 
There,"  and  his  "  Sidewalks  of  New  York  "  had 
become  a  political  anthem.  "The  Phantom 
President"  would  have  been  helped  immeasur- 
ably by  a  stirring  song. 

And  Cohan  was  hanging  around  the  studio 
idle,  anxious  for  something  to  do.  But  nobody 
seemed  to  want  George  M.  Cohan  to  write 
music. 

Added  to  these  situations,  Cohan  was  home- 
sick for  Broadway.      It's   been   home   sweet 
home  to  him  most  of 
his  life. 

So,  if  the  nation's 
movie  public  is  going 
to  get  well  acquainted 
with  the  famous  Song 
and  Dance  man,  it 
looks  like  it  will  have 
to  be  in  Eastern-made 
pictures. 

Not  that  movie- 
making, even  in  the 
East,  is  looked  upon 
gladly  by  Cohan.  He 
isn't  very  enthusiastic 
about  facing  motion 
picture  cameras  any- 
where. If  he  were,  he'd 
be  a  big  Hollywood 
star  now  instead  of 
Mr.  Broadway. 

Even  back  in  1916- 
1917,  when  Cohan 
made  his  first  excur- 
sion into  picture-mak- 
ing, eventually  filming 
six  of  his  Broadway 
plays  for  Artcraft,  he 
wasn't  very  enthusi- 
astic. Well  launched 
then  in  the  first  boom 
days  of  pictures,  he 
dropped  the  work  and 
scurried  back  to  Broad- 
way. He  didn't  look  a 
camera  in  the  eye  until 
he  was  talked  into  the 
unhappy  "Phantom 
President"  experience 
in  1932. 

Ask  him  now  if  he 
likes  working  in  pic- 
tures and  he'll  answer 
slowly,  "Well,  I  guess 
it's  that  I  don't  like 
getting  up  so  early  in 
the  morning.  Work 
over  here  at  the  studio, 
you  know,  starts  at 
eight  A.M. That  means 
rising  at  six  for  me." 

m 


But  watch  him  on  the  "Gambling"  set  and 
you  suspect  the  six  o'clock  rising  is  a  minor  and 
superficial  reason  for  his  lack  of  enthusiasm. 

Picture  making  is  obviously  a  tedious  busi- 
ness for  Cohan.  The  stage  is  his  element.  He 
was  born  in  it.  He  came  to  the  Astoria  studio 
with  the  applause  of  many  audiences  still  ring- 
ing in  his  ears.  His  acting  for  the  Theater 
Guild,  in  Eugene  O'Neill's  "Ah,  Wilderness," 
probably  was  last  season's  most  admired  per- 
formance. He  played  his  first  big  role  forty- 
four  years  ago,  as  the  juvenile  lead  in  "Peck's 
Bad  Boy."  For  nearly  half  a  century  since  he 
has  been  working  in  the  theater,  and  much  of 
that  time  he  has  been  his  own  boss.  Before  he 
went  to  Hollywood  he  was  quoted  as  having 
said,  "I  haven't  worked  for  anybody  since  I 
was  twenty." 

But  in  pictures — even  if  you're  a  pal  of  the 
producer's — you're  working  for  several  people. 
Pictures  are  closely  directed.  Working  in  a 
movie,  Cohan  must  act  on  a  chalk-mark.  If  he 
steps  off  the  mark — "Cut!  Cohan's  out  of 
camera  range!"     And  the  scene  must  be  re- 


A  bicycle  that  was  not  built  for  two.    And  neither  Jack  Oakie  nor  Helen 

Mack  appears  to  know  quite  what  to  do  with  it.    The  pair  were  cavorting 

around  the  Paramount  lot  when  surprised  by  the  cameraman 


taken.  Yes,  pictures  are  closely  directed.  Mr. 
Cohan  must  raise  his  hand  just  so  high,  he 
mustn't  take  a  step  on  that  line,  he  mustn't 
turn  or  the  shot  will  be  out  of  focus.  Of  course, 
he  wrote  the  play,  but  Mr.  Cohan  must  not  ad 
lib.  Lines  must  be  followed  precisely  or  the 
others  miss  their  cues.  But  Mr.  Cohan,  accus- 
tomed to  the  freedom  of  the  stage,  ad  libbed. 
The  scene  must  be  shot  again.  Over  and  over 
and  over.  On  a  narrow  set,  without  an  audi- 
ence, directions  to  be  exactly  followed,  lines  to 
be  memorized  and  repeated  precisely. 

/^^OHAN  usually  has  been  his  own  author, 
^^director,  often  his  own  producer.  Why, 
much  of  the  time  he  even  owned  the  theater  he 
was  playing  in,  for  at  one  time  he  was  landlord 
of  a  number  of  the  legitimate  houses  on  Broad- 
way. 

However,  throughout  the  tedium  ot  filming 
"Gambling,"  George  M.  Cohan  retained  his 
Irish  good  nature,  his  quiet  sense  of  humor. 

''I  don't  know  whether  I'll  make 
another  picture  here  or  not,"  he  said.  "Wait 
till  I  see  this  one,  then 
maybe  I  can  tell.  Just 
now  I'm  so  worried 
about  'Gambling,'  I 
can't  be  bothered  with 
future  picture  plans." 
It's  undoubtedly  im- 
portant to  Cohan  that 
'Gambling'  be  a  suc- 
cess. For  many  years 
he  has  been  one  of  the 
most  successful  men  in 
the  show  business. 
And  the  standards  he 
sets  for  himself  are 
high. 

But  more  than  that, 
Cohan  undoubtedly 
wants  to  show  Holly- 
wood what  he  can  do, 
making  a  movie  in  a 
friendly,  sympathetic 
atmosphere.  Probably 
it's  more  correct  to  say 
he  wants  to  show 
Hollywood  what  he 
can  do,  making  a  movie 
in  New  York.  For 
Cohan  is  a  man  of  ter- 
rific loyalties  and  great 
patriotism. 

He  is  Cohan,  the 
flag  waver,  Mr.  Yankee 
Doodle.  And  his  patri- 
otism is  pretty  strong 
where  Broadway  is 
concerned.  "Gam 
bling"  is  a  Broadway 
play;  Franklin  is  a 
Broadway  producer. 
The  picture  is  being 
made  twenty  minutes 
from  Broadway,  on 
Long  Island,  New 
York. 

Good?  It's  got  to  be 
good!  It's  Mr.  Broad- 
way's gamble  against 
Hollywood.  And,  on 
home  ground,  he's 
never  lost  a  bet  yet! 


Photoplay  Magazine  for  January,  1935 

Screen  Memories  From  Photoplay 

15  Years  Ago 


HTHIS  issue  printed  a  daring 
■*•  photograph  of  a  bathing  girl, 
right  in  the  roto  section.  She 
wore  high-laced  bathing  shoes, 
silk  hose,  a  satin-skirted  bathing 
suit,  and  a  tam-o-shanter.  The 
lady,  ready  for  her  swim,  was 
Phyllis  Haver.  She  married  Wil- 
liam Seeman,  wealthy  New 
Yorker,  in  1929  and  retired. 
There  was  a  story  about  the 
happy  married  life  of  Wanda 
Hawley  and  Burton  Hawley.  (She  divorced 
him  in  1921,  shortly  before  his  death.  The  last 
we  heard  of  her  she  was  demonstrating  cos- 
metics.) Harrison  Ford,  a  favorite  leading 
man  of  the  day,  confessed  that  he  could  not 
dance,  but  insisted  he  could  cook  like  a  French 
chef.  There  were  lots  of  photographs  of  the 
:hild  wonder  star  of  the  time,  little  Frankie 
Lee,  who  made  a  name  for  himself  in  "The 


Phyllis  Haver 


Miracle  Man."  Proof  that  mo- 
tion pictures  were  beginning  to 
be  taken  seriously  was  evidenced 
by  an  announcement  that 
Columbia  University  had  estab- 
lished a  Department  of  Photo- 
play Composition  for  college  stu- 
dents who  wished  to  become 
scenario  writers.  It  was  revealed 
that  Harold  Lloyd's  specs  didn't 
contain  any  lenses.  Another  illu- 
sion smashed!  The  slow  motion 
camera,  a  new  invention,  was  being  used  in 
treating  crippled  soldiers.  The  slow  movement 
enabled  physicians  to  detect  the  cause  of  faulty 
limb  movements.  Best  movies  included  the 
Douglas  MacLean comedy,  "Twenty-three and 
a  Half  Hours'  Leave";  "In  Old  Kentucky," 
with  Anita  Stewart;  "Strictly  Confidential," 
with  Madge  Kennedy;  Dorothy  Dalton  in 
"L' Apache."    Cover — Norma  Talmadge. 


10  Years  Ago 


Josef  Von  Sternberg 


TOSEF     VON    STERNBERG 

had  just  finished  directing  "  The 
Salvation  Hunters,"  featuring 
jeorge  Arthur  and  Georgia  Hale. 
The  movie,  considered  a  knock - 
>ut  by  critics,  cost  only  forty-five 
mndred  dollars.  ("Scarlet  Em- 
press," Josef's  latest  film,  cost 
wo  hundred  times  that  amount.) 
'^o  studio  was  interested  in  "The 
Salvation  Hunters,"  and  it  had 
o  be  financed  by  selling  shares. 
Doug  Fairbanks  was  a  major  shareholder. 
»Iary  Pickford  was  so  impressed  by  the  film 
he  wanted  Von  Sternberg  to  direct  her  next 
licker.  He  has  never  directed  a  Pickford 
novie,  however.  The  stars  were  all  busy 
aaking  New  Year's  resolutions.  Among  those 
hat  were  kept  was  Norma  Shearer's  resolution 
lot  to  marry  during  1925.  (Her  marriage  to 
"halberg   was   in    1927.)      Fortunately,    Ben 


Lyon  didn't  keep  his  resolution 
to  shoot  every  reporter  who 
rumored  him  engaged.  The 
rumors  continued  until  his  mar- 
riage to  Bebe  Daniels,  five  years 
later.  Incidentally  a  story  titled 
"Hollywood's  New  Heart- 
Breaker"  meant  Ben.  Richard 
Dix,  just  starred  by  Paramount, 
wrote  an  article  for  this  issue 
called  "How  It  Feels  to  Become 
A  Star."  Gist  was,  it  felt  okay. 
A  current  thriller  was  "The  Lost  World,"  with 
Bull  Montana  in  a  King-Kongish  role.  Favor- 
ite films  of  the  month  included  Pola  Negri  and 
Adolphe  Menjou  in  "Forbidden  Paradise"; 
Lon  Chaney's  "He  Who  Gets  Slapped"; 
Richard  Barthelmess  in  "Classmates";  Richard 
Dix  in  "Manhattan";  "The  Siren  of  Seville," 
starring  Priscilla  Dean;  and  Harold  Lloyd's 
"Hot  Water."   Cover — Betty  Bronson. 


5  Years  Ago 


hILMDOM  was  breathing 

r  more  easily  —  Garbo  passed 

ter  voice  test,  and  work  could 

fegin  on  her  first  talkie,  "Anna 

"hristie."     An  article,  "Garbo- 

laniacs,"  discussed  the  public's 

raze  for  the  Swedish  star.  Those 

'ho  said  her  strange  fascination 

ould  be  short-lived   were  cer- 

xinly  mistaken!     Polly  Moran 

n  a  story,  " Fifty  Years  of  'IT'," 

Dnfessed  the  facts  of  her  love 

fe.    At  that  time  she  said  her  current  flame 

as  Bill  Haines.    Bill  refused  to  make  a  state- 

lent,  denying  everything  in  pantomime.    (In 

133  Polly  married  Lawyer  Martin  Malone.) 

ill,  incidentally,  was  just  launching  on  his 

iterior  decorating  career,  changing  his  Spanish 

ungalow  into  a  Colonial  house.    It's  hard  to 

slieve,  but  on  a  fashion  page  titled  "Fashions 

>r  Tots,"  one  of  the  tot  mannequins  was  Anita 


Polly  Moran 


Louise,  in  half-socks  and  a  school 
dress.  Anita  is  now  featured  in 
grown-up  roles,  and  rumored  en- 
gaged to  Tom  Brown.  My,  my! 
How  time  does  fly!  The  issue 
carried  a  lovely  picture  of  Ann 
Harding,  husband  Harry  Ban- 
nister and  their  year-old 
daughter.  The  Bannisters  were 
divorced  in  1932.  A  chap  named 
Don  Jose  Mojica  was  being 
hailed  as  the  new  Valentino. 
Wonder  if  they'll  ever  find  one?  Films  of  the 
month  included  Ronald  Colman,  Ann  Harding 
and  Dudley  Digges  in  "Condemned  " ; "  Dulcy," 
with  Marion  Davies  and  Donald  Ogden  Stew- 
art; Warner  Baxter  and  Mona  Maris  in 
"Romance  of  the  Rio  Grande";  John  Barry- 
more  and  Marian  Nixon  in  "General  Crack"; 
Constance  Bennett  and  Eddie  Lowe  in  "This 
Thing  Called  Love."    Cover — Billie  Dove. 


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Movie  Fill-in  Contest  Winners 


THIRTY-NINE  movie  followers  will  soon 
be  receiving  checks  to  help  them  with 
their  Christmas  shopping — cash  awards 
totalling  $500.00  for  their  prize-winning  solu- 
tions in  the  Photoplay  Movie  Fill-in  Contest, 
which  appeared  in  the  July,  August  and  Sep- 
tember issues  of  Photoplay  Magazine. 

Many  thousands  of  solutions  poured  into  the 

FIRST  PRIZE— $125.00 

Mrs.  John  W.  Umsted 
Brownsville  Rd.,  Jackson,  Tenn. 


SECOND  PRIZE— $75.00 

Josephine  Werner 
1017  North  25th  St.,  Kansas  City,  Kan. 

THIRD  PRIZE— $50.00 

Mrs.  F.  E.  Nimmicke 
11  Elliott  Place,  West  Orange,  N.  J. 

FOURTH  PRIZE— $25.00 

Maurice  Nemoy 
104  West  Queen  St.,  Inglewood,  Calif. 


TEN  $10.00  PRIZES 

Ida  E.  Jackson 
202  St.  Philip  St.,  Baton  Rouge,  La. 

Miss  Lyndell  Schwartz 
19  Howe  St.,  New  Haven,  Conn. 

__  Mr.  &  Mrs.  R.  Tyler  Prize 
1765  Peachtree  Rd.,  Atlanta,  Ga. 

Mrs.  R.  F.  Johnst<  >.\ 
2461  North  40th  St.,  Milwaukee,  Wis. 

Dorothy  D.  Healey 
177  Prospect  St.,  Cambridge,  Mass. 

Elsie  Sperry 
1266  Fernwood  Ave.,  Toledo   O. 


offices  of  the  Puzzle  Contest  Editors,  at 
Chicago,  from  all  over  this  country  and  foreign 
lands. 

Weeks  of  work  were  necessary  to  carefully 
check  each  and  every  one  for  accuracy  in  listing 
the  missing  words  in  the  three  sets  of  Fill-ins  in 
their  proper  solution  ballots. 

Neatness  and  simplicity  in  the  contestants' 

Mary  Pence 
2381  Neil  Ave.,  Columbus,  O. 

Mrs.  W.  H.  Goldsmith 
1319  West  8th  St.,  Anderson,  Ind. 

Ethel  Gates  Tasker 
5006  Dorchester  Ave.,  Chicago,  111. 

Mary  Winifred  Keefe 

Middlesex  County  Sanatorium,  Waltham, 

Mass. 


method  of  submitting  the  solution  also  was  con- 
sidered— one  of  the  contest  rules. 

From  this  tremendous  array  of  solutions, 
first,  were  selected  what,  in  the  belief  of  the 
judges,  were  the  outstanding  ones,  under  the 
rules  of  the  contest.  Then  these  were  judged 
on  their  individual  merits,  and  the  prizes 
awarded  as  follows: 

Agnes  Hannay 
2013  New  Hampshire  Ave.,  Washington,  D.  C. 

Beada  Batterton 
1830  Grant  St.,  Denver,  Colo. 


TWENTY-FIVE  $5.00  PRIZES 

Lois  Smith 
147  Keil  St.,  North  Tonawanda,  N.  Y. 

Ruth  Scaison 
45  East  Lincoln  Ave.,  Mount  Vernon,  N.  Y. 

Mrs.  Celia  Power 
1083  Fourth  Ave.,  Woodcliff,  N.  J. 

Anna  Van  Deusen 
C.  23,  Box  38,  Orlando,  Fla. 

Edna  Sadler 
1731  East  Commerce,  San  Antonio,  Tex. 

Mrs.  Rovalia  Moonie 
33  Noe  St.,  San  Francisco,  Calif. 

Laura  A.  Weikel 
105  Ryers  Ave.,  Cheltenham,  Penna. 

Helen  Fairbairn 
5400  Queen  Mary  Rd.,  Montreal,  Canada 

Mildred  G.  Miller 
Bennett  Hall,  Philadelphia,  Penna. 

Marjorie  C.  Lawson 
126  Florence  Ave.,  Detroit,  Mich. 


Ethel  S.  Sherwin 
Bismarck,  N.  D. 

Mrs.  Ethel  Paul 
842  Madison  Ave.,  Evansville,  Ind. 

James  W.  Blanton 
Box  115,  Glenshaw,  Penna. 

George  C.  Glidden 
6  Percival  St.,  Dorchester,  Mass. 

Iris  Marshall 
2804  East  132nd  St.,  Cleveland,  O 

Mrs.  S.  B.  Bailey 
39  Hillside  Rd.,  Northampton,  Mass. 

Mrs.  E.  F.  Bambrick 
383}/>  Chapel  St.,  Ottawa,  Canada 

Dorothy  Dorey  Sullivan 
Scarboro-on-Hudson,  New  York 

Lucretia  McAllister 
616  Bell  Building,  Montgomery,  Ala. 

Inez  Schackel 
Luling,  Texas 

Yvonne  Fraser 
East  Burnham  Grove,  Farnham  Royal,  Bucks, 
England 

Mrs.  Peter  Schume 
118  Superior  Ave.,  Youngstown,  O. 

Mrs.  George  Carson 
1309  North  180th  St.,  Seattle,  Wash. 


The  "Rediscovery"  of  Bill  Frawley 


MacLean  were  leading  men  with  the  old  Mo- 
rosco  stock  company;  when  Bill  Hart  founded 
the  Round  Table  at  the  old  Bohemian  cafe, 
the  Hoffman,  run  by  Dorothy  Arzner's  dad; 
when  Gloria  Swanson,  Marie  Prevost,  Phyllis' 
Haver,  Mary  Thurman,  Viola  Dana  and  Shir- 
ley Mason,  Bebe  Daniels  and  Barbara  La  Marr 
might  be  seen  at  Vernon,  the  Ship,  Sunset  Inn, 
or  the  Tavern,  with  Mickey  Neilan,  Lew  Cody' 
Harold  Lloyd,  Ford  Sterling,  Roscoe  Arbuckle' 
Norman  Kerry,  Jack  Mulhall  or  Rudolph 
Valentino. 

Bill  can  even  remember  back  to  the  days 

116 


[  continued  from  page  58  J 

when  Santa  Barbara,  now  the  swankiest  mil- 
lionaire's playground  in  the  West,  threatened 
Hollywood  as  the  film  capital. 

Bill  Frawley  can  remember  all  these  things 
because  Bill  was  once  a  movie  actor  in  the  old 
American  Film  Company  in  Santa  Barbara, 
and  because  he  was  once  a  song  and  dance  man 
entertaining  in  Al  Levy's  Spring  street  cafe. 
Hollywood  pioneers  can  never  forget  Bill 
Frawley  and  Louise.  His  partner  was  a  beau- 
tiful red-headed  girl,  his  wife.  They  rank  in 
cherished  Hollywood  memories  with  Paul 
\\  hiteman,  the  Lyman  boys,  the  Sennett  bath- 


ing beauties,  the  Keystone  Kops,  the  wild  West 
cowboy  stars,  and  the  above-mentioned  hot 
spots. 

Yes,  indeedy,  folks,  Bill  Frawley  knew  Hol- 
lywood when  motion  pictures  were  just  in  their 
infancy.  (Some  say  they  are  still  in  their 
infancy.) 

During  the  last  ten  years  that  he  has  been 
building  up  a  reputation  on  Broadway  as  a 
graduate  from  the  song  and  dance  men  ranks, 
the  Bill  Frawley  of  the  Hollywood  pioneers 
has  been  forgotten.  He  is  well  known  for  his 
press-agent    in    the    stage    presentation    of 


Photoplay  Magazine  for  January,  1935 


II7 


'■Twentieth  Century,"  and  for  his  performance 
with  the  late  Jack  Donahue,  another  song  and 
dance  star,  in  "Sons  O'  Guns." 

I  will  admit  that  Bill  has  changed  somewhat 
— but  only  in  looks.  He  still  has  those  Irish 
blue  eyes,  but  he  has  widened  out  a  bit,  fore 
and  aft. 

He  still  talks  out  of  the  corner  of  his  mouth 
and  greets  old  pals  with  a  warm  grin  and  that 
rich  baritone  voice. 

CPEAKIXG  of  that  baritone  voice,  the  new 
^Hollywood  picture  producing  moguls,  who 
knew  nothing  of  Bill's  pioneer  days,  have  just 
'"discovered"  that  the  character  actor  can 
warble  like  a  baritone  canary.  If  there  is  such 
a  bird.  Henceforth,  William  will  be  called 
upon  to  lend  his  distinguished  vocal  talents  to 
pictures,  even  as  Bing  and  the  rest  of  the 
warblers. 

"Bill,"  I  asked,  "how  did  you  happen  to 
come  to  California?" 

"I  was  born  in  Iowa!" 

Well,  we  certainly  don't  have  to  go  any 
further  into  that. 

A  brief  biographical  revelation  shows  that 
;he  was  born  in  Davenport,  of  a  highly  re- 
spected, substantial  family. 

The  males  of  the  family  ran  mostly  to  rail- 
roads. Work,  I  mean. 

When  Bill  had  managed  to  get  through  high 
school,  he  became  a  traffic  inspector  on  the 
Burlington  at  the  age  of  nineteen.  And  he 
used  to  entertain  the  boys  on  Saturday  nights 
with  those  good  old  barroom  ballads.  The 
sobs  in  that  baritone  voice  won  Bill  a  pass  on 
every  railroad  in  the  country. 
!  One  night  in  a  Chicago  cabaret,  a  vaudeville 
booker  heard  Bill  playing  on  the  customers' 
heart-strings.  After  he  had  enjoyed  his  cry, 
too,  he  crooned  a  siren  song  in  the  railroad 
Irian's  ear. 

What  was  he  doing  working  on  a  railroad? 
iVhy,  boy,  across  those  footlights  you'll  panic 
hem  and  lay  them  out  in  the  aisles.  You  know- 
hose  ten  per  centers! 

Anyway,  Bill  left  the  luxury  of  the  Pullmans 
lat. 

How  could  he  know-  that  a  few-  months  later 
ie  would  be  riding  the  rods  under  the  same  cars 
j  here  he  once  rolled  in  ease  and  comfort? 

His  boss  predicted  jail  or  worse.  There  was 
■  eeping  and  wailing  in  the  Frawley  homestead 
1  Burlington. 

His  mother  took  on  so  that  even  after  Bill 
ad  miraculously  landed  a  singing  role  in  a 
'hicago  musical  comedy,  "The  Flirting  Prin- 
ess,"  he  quit  the  stage  as  abruptly  as  he  had 
uit  the  railroad. 

^OR  nearly  a  year  the  broken-hearted  bari- 

,'  tone  pored  over  musty  books  in  his  uncle's 

tilroad  office  in  East  St.  Louis.    He  saw  only 

otes  in  the  dry  traffic  words.    Finally  he  grew 

)  indifferent  that  his  uncle  fired  him.    Within 

few  hours  the  escaped  prisoner  had  fashioned 

[vaudeville  act,  persuaded  his  brother  Paul  to 

-  'in  him  (Paul  sang  tenor),  and  jumped  head- 

ng  into  a  precarious  stage  career.    Eventually 

I  iey  played  Burlington — for  three  days — and 

hen  Mother  Frawley  was  persuaded  to  see 

<\d  hear  them  in  person  on  the  third  and  last 

ght — she  broke  down  and  cried  right  out 

(.  jdd  in  the  theater. 

The  boys  were  delighted  with  their  mother's 

iction  to  their  renditions — until  she  got  back 

the  dressing-room. 

"Boys,  I  knew  you  were  bad,"  she  said  be- 
1  een  sobs,  "but  I  never  dreamed  you  were 
is  bad.  For  the  love  of  the  saints,  will  you 
me  back  home  and  get  a  job  on  the  rail- 
id?" 


■i 


Except  to  say  that  they  didn't  take  mother's 
advice,  we  will  pass  very  quietly  over  the  next 
two  years  of  hit  and  miss.  Bill  "pioneered" 
night  club  singing  in  such  towns  as  Denver, 
Salt  Lake  City,  and  San  Francisco,  where  he 
became  a  favorite.  He  would  send  for  Paul, 
and  Paul  would  follow  him  right  in.  It  was  a 
swell  brother  act. 

In  Denver,  Bill  met  a  beautiful  red-headed 
girl  named  Edna  Louise  Bloedt,  and  persuaded 
her  to  take  a  chance  in  marrying  an  itinerant 
troubadour. 

Out  of  this  marriage  a  famous  vaudeville 
team  was  born — Frawley  and  Louise. 

One  time  when  Bill  and  his  Louise  were 
trouping  through  Texas,  he  found  himself 
booked  into  Juarez,  Mexico.  Rather  a  quaint 
idea,  too,  even  for  a  booker,  as  the  Mexicans 
didn't  understand  English,  and  Bill  couldn't 
speak  Spanish. 

TN'  less  time  than  it   takes  to  say  "Adios, 

amigos,"  the  Frawleys  found  themselves  tem- 
porary residents  of  El  Paso,  without  benefit  of 
money. 

Bill  ran  into  an  old  pal,  Jack  Curley,  who 
was  then  trying  to  promote  the  Jess  Willard- 
Jack  Johnson  fight  in  Juarez,  with  the  favor  of 
Pancho  Villa. 

If  you  want  to  know  why  Bill  Frawley 
scored  a  hit  on  the  New-  York  stage  as  the 
rough,  tough,  cynical  press-agent  in  "Twen- 
tieth Century,"  I  refer  you  to  the  days  when 
he  became  press-agent  for  the  fight  and  secre- 
tary to  Jack  Curley. 

Only,  the  fight  never  came  off — that  is,  in 
Juarez. 

The  promoters  folded  their  tents,  as  it  were, 
and  faded  away  into  the  night,  Havana-bound. 
They  forgot  to  take  Bill  with  them,  so  the  bud- 
ding p.a.  was  left  holding  the  sack  with  the 
El  Paso  Chamber  of  Commerce. 

So,  Bill  and  the  Chamber  of  Commerce  head 
man  got  together  and  put  on  a  whale  of  an 
Elks'  benefit,  which  pleased  the  Elks  so  much 
that  they  presented  Frawley  and  Louise  with 
enough  money  to  get  to  Santa  Barbara.  Why 
Santa  Barbara,  you  say? 

Oh,  just  another  one  of  those  optimistic 
vaudeville  bookers. 

At  this  point  Bill  got  smart.  He  put  his 
beautiful  wife  in  the  act,  as  the  piano  player 
had  departed  eastward. 

Louise  didn't  know  the  wings  from  the  flies, 
but  she  was  game. 

They  opened  in  Santa  Barbara  and  knocked 
them  hotter  than  a  Harlem  dancing  contest. 
Next  day  the  movie  gang  from  the  American 
Film  Company  called  in  a  body  at  their  hotel. 
They  had  heard  Bill  sing  and  they  had  seen 
Louise. 

"DILL  claims  that  all  they  really  saw  was 

Louise,  but  he  rented  a  dress  suit  and 
became  a  movie  actor,  too.  For  a  year  the 
Frawleys  acted  with  Frank  Borzage,  then  a 
juvenile;  the  late  William  Russell,  Harold 
Lockwood,  May  Allison,  Roy  Stewart,  Neva 
Gerber,  and  other  favorites. 

But  their  fame  as  a  song  and  dance  team 
brought  them  so  many  more  lucrative  offers 
from  Hollywood  that  they  soon  found  them- 
selves hobnobbing  with  the  great  and  near- 
great  in  the  favorite  night  spots  of  that  pioneer 
day. 

Many  years  later,  in  1927  to  be  exact,  the 
team  of  Frawley  and  Louise  split  for  keeps. 
She  went  her  way  and  he  went  his  way. 

Now  that  the  new  Hollywood  has  found  Bill 
Frawley  out,  they  can  take  it  from  another 
pioneer  that  he  wears  the  same  hat. 

I  knew  him  when! 


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Kitty  Crashes  Fame 


CONTINUED  FROM  PAGE  43 


as  bubblingly  refreshing  as  Dry  Monopole,  he 
set  about  the  baffling  business  of  trying  to  con- 
vince a  career-minded  rich  girl  that  she  should 
hearken  to  the  tap  of  opportunity,  when  she 
wanted  to  but  was  still  afraid  to. 

Well,  Kitty  finally  gave  in,  and  when  the 
show  closed  its  run  on  Broadway,  she  made  her 
first  trip  to  California  for  a  part  in  "Murder  At 
The  Vanities."  But  Hollywood  dates  her  from 
the  time  she  went  to  town  with  Bing  in  "Love 
in  Bloom." 

"•"PHAT  song  seems  like  a  child  of  mine  or 
something,"  Kitty  confessed  in  the  privacy 
of  her  brand  new  and  very  fancy  blue  dressing- 
room,  which  still  reeked  of  turpentine  and 
white  lead.  "I  mean,  it  keeps  following  me 
around."  She  nodded  across  the  studio  to  the 
music  department  where  Bing  Crosby's 
recorded  split-larynx  was  crooning:  "Can  it 
be  the  spring — " 

A  passing  bicycle  messenger  joined  in 
whistling  the  chorus,  and  the  carpenters  on  a 
nearby  set  kept  time  tapping  home  nails. 

But  the  strangest  thing  about  Kitty's  suc- 
cess and  her  songs,  is  that  she  has  clicked 
rendering  popular  numbers,  after  devoting 
years  to  a  study  of  classical  music  abroad. 

After  childhood  schooling  in  Switzerland  and 
her  society  debut  in  Rome,  she  deserted  the 
gaiety  of  the  Continental  social  whirl  to  devote 
herself  seriously  to  becoming  an  opera  singer. 
Cunnelli  of  Paris  and  Mme.  Kaszowska  of 
London  groomed  her  for  an  European  operatic 
career,  and  practically  disowned  her  when  she 
decided  to  come  to  America  and  get  a  job  in  a 
show. 

Though  Kitty  was  born  in  New  Orleans, 
Catharine  Carlisle  ("there  were  fifteen  'Cath- 
arines' in  the  first  school  I  ever  attended,  so 


they  had  to  call  somebody  'Kitty',")  grew  up 
abroad,  learned  to  speak  French,  Italian  and 
German  like  a  native,  and  probably  would  to- 
day be  singing  arias  from  "  Rigoletto"  in 
London  if  England  hadn't  gone  off  the  gold 
standard. 

"  I  don't  know  that  that  had  anything  to  do 
with  it,"  giggled  Kitty,  "but  in  order  to  sing  in 
London,  I  had  to  get  a  labor  permit.  I  asked 
for  it  the  day  England  went  off  the  gold 
standard,  and  they  turned  me  down — said  I'd 
be  taking  the  money  away  from  English 
singers — so  I've  always  blamed  it  on  the  gold 
standard."  That  amazing,  paralyzing,  hypno- 
tizing laugh  again. 

America,  even  for  an  expatriate,  was  still  the 
land  of  opportunity — especially  Hollywood, 
although  at  first  Kitty  was  a  bit  wary  of  how 
she  and  the  movies  would  hit  it  off. 

"  You  know,  I'm  not  beautiful,"  she  insisted, 
"and  I  wasn't  so  sure  I  could  act  very  well.  At 
first  my  face  twitched — every  time  I  came  any- 
where near  a  camera  it  twitched.  It's  a  little 
disconcerting  trying  to  act  with  a  twitching 
face.  And  when  I  finally  got  over  that  I 
started  worrying  about  singing  with  Bing." 

Doesn't  she  like  Bing? 

"I'm  mad  about  him — I  mean  about  work- 
ing with  him.  But  you  know  he  simply  won't 
rehearse  songs.  Not  even  once.  Says  he  gets 
stale — and  I'm  just  no  good  at  all,  at  im- 
promptu singing.  So  when  we  sing  together,  I 
start  worrying.  About  everything.  I  worry 
about  the  harmony.  I  worry  about  the  tempo. 
I  worry  about  the  key.  I  ask  Bing  if  such  and 
such  a  key  is  all  right  and  he  says,  'Oh,  sure,' 
just  like  he  isn't  giving  it  a  thought — so  I  know 
we'll  be  singing  in  entirely  different  keys  when 
we  start. 

"Of  course,  everything  comes  out  all  right, 


but  at  first  it  made  me  nervous  just  to  walk 
right  up  to  the  camera  and  start  singing  with- 
out any  rehearsals  at  all.  The  first  few  times 
I'm  afraid  we  went  goggling  off  in  entirely 
different  directions.  But  I've  got  used  to  it — 
I've  had  to,  because  Bing  just  won't  rehearse." 

Just  at  this  point  Bayard  Veiller,  the  play- 
wright, looked  in  on  the  elegant  blue  dressing 
room  and  after  recovering  from  its  splendor, 
the  turpentine  and  white  lead,  and  Kitty's 
electric  charm,  he  wanted  to  know  when  "the 
beau"  was  coming  out.  "Soon,"  said  Kitty, 
"any  day  now." 

The  beau? 

"  Don't  tell  a  soul,"  said  Kitty,  sotto  voice, 
after  he  had  left,  "but  there  isn't  any  beau! 
You  know,  everyone  here  at  the  studio  believes 
I  have  a  mysterious  sweetheart  in  New  York. 
He's  always  'coming  out.'  Really  it's  a  grand 
idea;  it  makes  me  very  intriguing,  and  exciting. 
But  really,  I  haven't  any  sweetheart." 

What,  no  sweetheart? 

"  f^H,  I  have  had,"  admitted  Kitty,  dimpling 
^^^  her  pretty  brown  eyes  with  a  tremendous 
grin.  "In  Rome  I  fell  in  love  with  the  son 
of  the  Brazilian  ambassador,  but  'Mummy' 
stopped  that.    He  wasn't  the  right  man. 

"But  right  now  I  think  I'm  in  love  with  my 
work  Honestly,  I'm  crazy  about  it.  I  get  up 
at  six  in  the  morning  and  just  can't  wait  to  get 
started.    I  love  every  minute  of  it." 

"Here  Is  Your  Heart?"  I  asked. 

"Here  Is  My  Heart,"  smiled  Pretty  Kitty. 
"  Perfect — but  honestly,  nobody's  in  love  with 
me." 

Of  course,  that's  where  Miss  Kitty  Carlisle 
is  wrong. 

Because  everyone  in  Hollywood,  including 
me,  is  simply  crazy  about  her. 


Tom  Meighan  Is  Restless 


CONTINUED  FROM  PAGE  83  ] 


delineator  of  character.  But  it  is  also  more.  It 
is  an  indication  of  the  thoroughness  of  Thomas 
Meighan.    Nothing  but  the  best  will  do. 

You  see,  first,  Meighan  has  picked  himself 
an  original  character.  (This  writer,  when  the 
name  was  whispered  to  him,  breathed  his 
amazement  that  it  had  been  overlooked.  It's 
what  is  called  a  natural.)  Then,  secondly, 
Thomas  wants  that  character  at  his  best  ad- 
vantage. 

Thus  the  importance  of  the  writer. 

•"TOMMY  MEIGHAN,  above  all,  insists  on  his 
characters  being  themselves,  natural. 

And  he  has  his  reasons  for  all  this. 

"I  can't,"  he  said,  "play  anything  unless  it 
is  believable.  It  causes  me  actual  agony.  I 
know.  I've  tried  to  do  it.  In  addition,  let  me 
add,  a  part  must  not  be  merely  believable,  it's 
got  to  be  interesting." 

So  much  for  the  story  Tom  has  in  mind.  For 
the  success  of  the  screen  version,  he  rates  a 
director  as  top  man  there.  "I  would  rather," 
he  said,  "work  on  a  second  rate  story  with  a 
first  rate  director,  than  on  a  first  rate  story 
with  a  second  rate  director.  And  yet,"  he  quali- 

118 


fied,  "no  individual  is  wholly  responsible  for 
any  particular  picture." 

Now,  during  all  this  discussion,  there  was 
nothing  said  by  Thomas  Meighan  about 
Thomas  Meighan's  ability.  Getting  self-praise 
out  of  this  man  is  like  trying  to  turn  a  well 
inside  out.  It  may  be  possible,  but  I  have  my 
doubts.  Whoever  coined  the  word  "modesty" 
must  have  used  Thomas  Meighan  for  his 
model. 

And  Tommy  will  like  that,  should  he  read 
it,  because  he  insists  he's  the  most  boring 
gabber  on  the  subject  of  Meighan  that  ever 
came  along  the  pike. 

But  it  isn't  necessary  for  Tommy  to  talk 
about  himself.  Others  have  done  that  very 
nicely,  and  with  enjoyment. 

For  instance,  here's  one  writer  on  Tommy's 
acting  ability:  ".  .  .  as  true  in  his  depiction  of 
emotion  as  Tellegen  used  to  be  when  he  played 
on  the  stage  with  Bernhardt."  For  good  meas- 
ure, here  are  a  couple  of  other  remarks  culled 
at  random  from  volumes  of  comment  about 
him:  ". .  .  second  to  no  man  in  popularity,"  and 
".  .  .  career  unparalleled  in  his  profession." 

Just  to  heap  up  that  good  measure  on  this 


"boring"  person,  here  are  some  of  the  names  of 
producers,  writers,  actors  and  actresses,  with 
whom  he's  been  closely  associated  on  and  off- 
stage. This  is  not  a  full  list,  mind  you,  merely  a 
few  plucked  here  and  there  from  the  records: 
David  Warfield,  George  M.  Cohan,  Henry  W. 
Savage,  William  H.  Crane,  William  Collier,  Sr., 
Booth  Tarkington,  George  Ade,  Grace  George, 
Pauline  Frederick,  Blanche  Sweet,  Billie  Burke, 
Valeska  Suratt,  Laura  Hope  Crews,  Lois  Wil- 
son, Lila  Lee,  Norma  Talmadge,  Elsie  Fer- 
guson, Betty  Compson,  Gloria  Swanson,  Mary 
Pickford —  Enough?  One  more.  Frances  Ring. 

rTTO  Miss  Ring  goes  top  billing,  because  she  is 
still  the  leading  lady.  In  fact,  she  has  been 
since  she  and  Mr.  Meighan  met  in  George  Ade's 
first  play,  the  first  of  a  number  the  noted  hu- 
morist has  written  for  Tommy.  The  play  was  the 
well-known,  three-seasons  success, ' '  The  College 
Widow."  It  was  during  the  run  of  that  play 
Miss  Ring  became  Mrs.  Meighan,  and  theirs  is 
still  one  of  the  few  stage  and  screen  romances 
with  any  permanence. 

But,  some  more  about  the  interview  with 
Mr.  Meighan.    Naturally,  I  spoke  of  "Peck's 


Photoplay  Magazine  for  January,  1935 


II9 


Bad  Boy."  And,  after  again  trying  unsuccess- 
fully to  get  something  out  of  him  about  him- 
self, other  than  that  he  enjoyed  the  part  and 
the  company,  I  asked  about  Jackie  Cooper  and 
Jackie  Searl. 

Then  he  flashed  the  Meighan  'smile  and 
talked. 

Suffice  it  to  say  that  Tom  sees  them  both 
as  grand  fellows,  both  real  boys. 

He  also  praised  them  right  up  to  here  as 
it  tors  of  definite  ability — and  their  own 
ability,  he  emphasized. 

"CROM  there,  I  went  somewhat  reminiscent. 
■*-  I  mentioned  "The  Miracle  Man."  Who 
wouldn't  talk  about  that  great  picture  with 
Thomas  Meighan?  In  fact,  that  was  probably 
Tom's  greatest  picture.  Julian  Johnson,  writing 
in  Photoplay  Magazineat  the  time.saidof "  The* 
Miracle  Man"  and  of  Lillian  Gish's  "Broken 
Blossoms"  ".  .  .  the  screen  has  not  only  failed 
to  furnish  their  equals,  but  nothing  which  in 
any  way  compares  with  them." 
!  Also  I  mentioned  another  great  picture  of 
his,  based  on  "The  Admirable  Crichton," 
which  came  out  under  the  title  of  "Male  and 
Female."  Gloria  Swanson  was  the  feminine 
ead. 


I  asked  Tommy  if  he'd  like  to  do  again  either 
of  these  two. 

The  answer  was  another  insight  into  the 
character  of  the  man  Meighan. 

"  I  never,"  he  said,  "  try  to  play  anything 
younger  than  I  feel.  Those  two  pictures  were 
done  some  years  ago.  Also,  I  don't  like  to  go 
back  to  anything." 

Yet,  in  how  "The  Miracle  Man"  came  to 
life  as  a  movie  at  all  serves  as  an  illustration  of 
Mr.  Meighan's  ever-present  determination  to 
carry  out  a  particular  idea  as  he  sees  it. 

It  is  typical  of  his  present  directed  rest- 
lessness. 

T_TE  read  "The  Miracle  Man"  as  a  magazine 
story.  He  saw  in  it  a  perfect  movie.  But  he 
was  alone  in  this  thought.  But  that  was  no 
drawback  to  Tommy  Meighan.  He  was  con- 
vinced he  was  right. 

So,  he  organized  an  independent  company 
and  produced  the  picture. 

What  happened  is  glorious  history.  And, 
the  possibilities  are  strong  that  history  is 
just  about  due  to  repeat  itself. 

Because  Tommy  Meighan  is  restless  with  an 
idea  he  knows  is  good.  And,  he's  gone  to  Holly- 
wood with  it. 


The  Fan  Club  Corner 


Mi 
! 


EMBER  clubs  of  the  Photoplay  As- 
sociation of  Movie  Fan  Clubs,  atten- 
tion! All  fan  club  correspondence,  and 
natters  pertaining  to  the  Association,  should 
3e  addressed  to  the  New  York  offices  of  Photo- 
play Magazine,  221  West  57th  Street,  New 
York  City.  Club  secretaries  should,  hereafter, 
i;end  all  reports,  inquiries  and  news  bulletins 
to  the  above  address. 

CANS  everywhere  will  be  happy  to  learn  that 
the  international  Francis  Lederer  Fan  Club 
s  now  a  member  of  the  Photoplay  Associa- 
ion  of  Movie  Fan  Clubs.  The  purpose  of  the 
:lub,  as  stated  by  the  president,  is  "To  put 
:hinking  people  all  over  the  world  in  touch 
vith  one  another  so  that  they  may  exchange 
deas,  broaden  their  views,  and  improve  their 
cnowledge  of  how  the  rest  of  the  world  thinks, 
icts  and  lives."  The  club  paper  is  called 
'Czechago"  and  appears  monthly.  Head- 
quarters of  this  fine  organization  are  at  4341 
North  Albany  Ave.,  Chicago,  111.  Miss 
Beatrice  Kramer  is  acting  secretary.  She  will 
ae  glad  to  answer  all  inquiries  from  fans  regard- 
ng  the  club.  Foreign  inquiries  may  be  sent  to 
:heir  British  representative  at  67  Hodford 
Road,  Golders  Green,  N.  W.  11,  London,  Eng- 
and. 

1  Bonnie  Bergstrom,  6805  S.  Artesian  Ave., 
Chicago,  111.,  reports  that  the  Barbara  Stan- 
wyck Buddies  have  received  some  beautiful 
lew  photographs  of  Miss  Stanwyck.  Many 
)ut  of  town  "  Buddies"  have  visited  president 
Bonnie  lately,  she  writes. 

""THE  Billie  Dove  club  celebrated  its  sixth 
birthday  at  a  party  in  the  home  of  president 
!>enore  Heidom,  5737  S.  Artesian  Ave., 
rhicago,  on  Nov.  4th.  Many  plans  for  future 
ictivities  of  the  club  were  discussed  at  the 
neeting. 

Lillian  Conrad,  busy  president  of  the  Ruth 
Roland  club,  won  the  contest  for  naming  the 
:lub  news  bulletin  of  the  Ginger  Rogers  club. 
5he  was  rewarded  with  a  gorgeous  personally 


autographed  portrait  of  Miss  Rogers.  Those 
interested  in  joining  the  Ginger  Rogers  fan 
club  should  write  to  Marion  L.  Hesse,  presi- 
dent, 154  Elm  Street,  Elizabeth,  N.  J. 

A  report  of  the  activities  of  the  Ramon 
Novarro  Service  League  for  the  past  year  shows 
the  wonderful  progress  this  group  is  making. 
All  inquiries  regarding  this  progressive  organ- 
ization should  be  addressed  to  Ethel  Musgrave, 
general  secretary,  6384  Elgin  St.,  Vancouver, 
B.  C,  Canada.  Foreign  inquiries  may  go  to  L. 
Margiocchi,  3,  Allington  Road,  Hendon 
Central,  London,  England. 

1  I  'HE  Lanny  Ross  League,  Catharine  Mac- 
■*■  adam,  P.  O.  Box  164,  Wilmington,  Del., 
president,  announces  that  the  club  will  begin 
a  big  membership  drive  around  Christmas. 
There  will  be  special  prizes  to  the  winners. 
Fans  interested  in  Lanny  Ross  should  write 
Miss  Macadam. 

The  news  bulletin  of  the  Gloria  Stuart  club  is 
filled  with  interesting  items  and  member  gossip 
again  this  month.  "The  Gloria-ous  News"  is 
its  name,  and  it  goes  to  all  members  of  Miss 
Stuart's  club.  Estelle  Nowak,  3223  N.  Central 
Park  Ave.,  Chicago,  is  president. 

"CANS  interested  in  the  newly  formed  Pat 

Paterson  club  are  invited  to  write  the  club's 
headquarters  at  955  N.  Central  Ave.,  Chicago, 
for  information. 

Neil  Hamilton's  host  of  fans  will  be  glad  to 
read  of  his  fan  club  organization,  The  Hamil- 
tonians,  4254  Normal  Ave.,  Los  Angeles, 
Calif.  Those  wanting  more  information  are 
invited  to  write  John  G.  Whidding,  president, 
at  the  above  address. 

Phyllis  Carlyle,  president  of  the  Franchot 
Tone  club,  invites  all  interested  fans  to  write  to 
her  at  Portland,  Maine. 

Irene  G.  Rourke,  7908  S.  Ridgeland  Ave.,  is 
president  of  the  Douglass  Montgomery  club. 

The  Movie  Club  Guild,  of  Chicago,  held 
another  penny  social  sale,  a  big  success,  late  in 
November. 


How  to   Gain 

eaiitifuLZffaL 

*n  10  minutes 


New  Soapless  Oil  Shampoo  gives 
hair  life  and  lustre  immediately 

0  Will  you  do  one,  easy  thing  to  give  your  hair  beauty 
you  did  not  dream  it  possessed?  A  single  shampoo  with 
Mar-O-Oil  will  instantly  restore  alluring  lustre,  color  and 
softness.  Mar-O-Oil  is  not  only  easier  to  use  and  easier  to 
rinse  out — not  only  rids  the  hair  of  dirt  and  dandruff  more 
thoroughly  than  old-fashioned  methods  —  but  it  is  actU' 
ally  a  scalp  treatment  and  tonic  as  ivell.  That  is  why  the 
hair  is  so  radiantly  beautiful  and  soft  after  a  Mar-O-Oil 
shampoo.  Why,  also,  waves  last  3  times  longer.  Obtain 
Mar-O-Oil  at  all  drug  or  department  stores.  It  must  de- 
light you,  or  your  money  back.  Or,  mail  the  coupon  below 
with  10c  for  a  generous  sized  bottle. 

MAR-O-OIL 

Soapless  Oil  Shampoo 
MAIL  C0UP0N_WITH_10c_F0R  GENE_ROUS_SIZEp_BOTTLE 

J.  W.  Marrow  Mfg.  Co..  Dept.  P-l 
3037  N.  Clark  St.,  Chicago,  Illinois 

Name 

Street _ City. 


BY  THE  DAY, 

MONTH  OR  YEAR 

at  the 

SHERRY-  NETHERLAND 


A  residence  of  quiet,  private-home 
charm  ...  individually  decorated  rooms 
and  theadvantagesofSherry-Netherland 
service.  Tower  apartments,  and  suites 
of  one  to  four  rooms.  Boudoir  dressing- 
rooms,  serving  pantries.  Fifth  Ave.  at 
59th  St.  on  Central  Park,  New  York. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  75 


ENTER  MADAME— Paramount 

TN  spite  of  a  brilliantly  vital  performance  by 
Elissa  Landi,  and  some  rollicking  comedy, 
this  is  spotty  entertainment.  It's  well  worth 
seeing,  however,  for  Landi,  as  a  capricious 
prima  donna,  is  at  her  best.  Cary  Grant,  as 
her  bewildered  spouse  who  escapes  briefly  to 
the  arms  of  a  quieter  lady  love,  is  fascinating  in 
both  his  comedy  and  romantic  moments. 
Frank  Albertson,  Lynne  Overman  and  Sharon 
Lynne  top  the  support. 

FUGITIVE  LADY— Columbia 

CTAGE  star  Florence  Rice  makes  a  successful 
^film  debut  in  this  picture.  It's  the  story  of  a 
woman  who  is  sentenced  to  the  penitentiary 
after  being  double-crossed  by  a  jewel  thief 
(Donald  Cook).  A  melodramatic  train  wreck 
results  in  a  case  of  mistaken  identity  that  puts 
her  in  the  role  of  the  estranged  wife  of  another 
man  (Neil  Hamilton).  Plenty  of  action,  a  fair 
story,  good  direction.  Florence  Rice  will  go 
far  on  the  screen. 

CHEATING  CHEATERS— Universal 

A  CTION  and  suspense,  aided  and  abetted 
^by  comedy  and  gags,  guarantee  this  to 
please  if  you  like  the  mystery  and  crook  type  of 
picture.  Complications  arise  when  two  gangs 
of  crooks  bent  on  the  same  mission,  cross  one 
another.  Fay  Wray  is  convincing  as  a  girl 
crook,  and  Henry  Armetta  and  Hugh  O'Con- 
nell  provide  the  comedy,  while  the  snapper 
twist  that  made  this  a  stage  success  adds  zest 
to  the  entertainment. 

THE  GAY  BRIDE— M-G-M 

/^OLD  digger  de  luxe  goes  on  a  rampage! 
^-'Carole  Lombard,  chorus  girl  out  to  get  a 
husband,  becomes  involved  with  a  crowd  of 
racketeers  who  obligingly  kill  off  each  other  in 
order  to  please  her.  Nat  Pendleton,  Sam 
Hardy  and  Leo  Carrillo  pay;  while  Chester 
Morris,  who  behaved  himself,  wins  the  prize. 
A  good  story  loaded  with  plot  complications 
and  blurry  character  drawings.  Even  ZaSu 
Pitts  seems  more  bewildered  than  usual. 

WITHOUT  CHILDREN— Liberty 

'"THERE'S  lots  of  heart  appeal  and  some 
grand  family  scenes  in  this  picture,  but  the 
plot  is  antiquated  and  the  acting  too  often  un- 
convincing. Bruce  Cabot  and  Marguerite 
Churchill  let  a  fascinating  siren  break  up  their 
happy  home.  Then  their  kids  grow  up,  go 
flaming  youth,  and  eventually  bring  about  a 
reunion.  Dorothy  Lee  and  William  Janney  as 
the  scorching  youngsters,  and  Dickie  Moore 
and  Cora  Sue  Collins  as  the  tots,  steal  the  show. 

SECRETS  OF  HOLLYWOOD— 
Scott-Merrick  Prod. 

A  N  HOUR  of  howls  with  the  old  movie 
*■  plush-bound  album.  It's  a  weak  story, 
but  priceless  when  Mae  Busch,  as  the  star, 
shows  a  collection  of  old  pictures  with  Eddie 
Lowe,  Wally  Beery,  Enid  Bennett,  Florence 
Vidor,  and  other  veterans,  emoting  in  scenes 
from  the  nickelodeon  days.  The  modern  part 
is  unimportant.  But  you  won't  want  to  miss 
those  museum  flashbacks.  The  "secrets"  is 
just  a  come-on. 

120 


TRANSATLANTIC  MERRY-GO- 
ROUND— United  Artists 

TTS  galaxy  of  stars  is  this  picture's  chief  draw- 
ing power.  The  story,  beginning  with  a  murder 
on  ship  board,  is  none  too  intriguing.  But 
radio  entertainers  Jack  Benny,  Sid  Silvers, 
and  the  Boswell  Sisters  are  good.  Dramatic 
load  is  carried  by  Nancy  Carroll,  Gene  Ray- 
mond and  Sidney  Blackmer,  with  Gene  way 
out  in  front.  Mitzi  Green  helps  the  entertain- 
ment.   Picture  has  its  moments,  but  not  many. 

THE  RETURN  OF  CHANDU— 
Principal 

OPOOKY  music,  ghost  drums,  and  thrills! 
,\  Hindu  secret  society  must  have  an 
Egyptian  princess  (Maria  Alba)  as  a  sacrifice 
to  their  god.  And  it's  all  Chandu  (Bela  Lugosi) 
can  do  to  foil  them — even  with  genii,  magic 
charms  and  self-steering  automobiles  to  help 
him.  It's  good  entertainment  for  the  kids. 
And  if  adults  leave  their  credulity  at  home  and 
go  to  hiss  the  turbanned  villain,  they'll  have 
fun,  too. 

LOST  IN  THE  STRATOSPHERE— 
Monogram 

A  STORY  with  a  good  idea  that  went  rather 
weak.  Eddie  Nugent  and  William  Cagney, 
air  service  pals,  differ  for  the  first  time  over 
June  Collyer,  Eddie's  girl  who  William  swipes. 
Enemies  now,  the  two  boys  are  sent  up  to- 
gether on  a  stratosphere  flight.  Fourteen  miles 
up  the  balloon  goes  haywire.  Pauline  Garon 
and  Lona  Andre  appear  briefly.  Edmund 
Breese  is  a  good  commanding  officer.  This  is 
one  for  the  kids. 

LOYALTIES— Harold  Auten  Prod. 

A  N  adaptation  of  John  Galsworthy's  play  of 
the  same  name,  this  is  a  story  of  a  wealthy 
Jew  robbed  by  a  British  Army  captain  at  a 
house  party.  Class  and  racial  prejudice  enter 
into  subsequent  justice  for  the  Jew,  over-played 
by  Basil  Rathbone.  An  all  British  cast,  the 
accent  is  practically  unintelligible  for  American 
audiences.  With  clearer  dialogue  it  might  have 
been  more  entertaining. 

GIRL  O'  MY  DREAMS— Monogram 

T  OTS  of  rah-rah  and  collegiate  confusion 
centering  about  a  campus  election  and  fra- 
ternity pin  engagements.  In  spite  of  the  dev- 
astating humor  of  Sterling  Holloway  and 
breezy,  refreshing  student  characterizations  by 
Mary  Carlisle,  Eddie  Nugent,  Arthur  Lake  and 
Creighton  Chaney,  you'll  find  this  an  old 
story.  Better  decide  how  much  collegiate  at- 
mosphere you  can  stand  before  seeing  this  one. 

LIGHTNING  STRIKES   TWICE— 
RKO-Radio 

TF  YOU  can  be  entertained  by  a  mystery 
built  on  a  murder  that  didn't  happen,  inter- 
mixed with  mistaken  identities,  you'll  be 
amused.  Ben  Lyon  and  Skeets  Gallagher  are 
funny  as  the  befuddled  young  men-about- 
town,  and  Pert  Kelton  is  good  as  the  fan 
dancer.  Laura  Hope  Crews,  John  Hale  and 
Thelma  Todd  also  turn  in  able  performances. 
But  the  cast  can't  surmount  the  weak  and 
incoherent  story. 


I  SELL  ANYTHING— 
First  National 

"V'OU'LL  be  talked  to  death  in  this  gabby 
monologue  delivered  by  Pat  O'Brien,  an 
auctioneer  out  to  gyp  the  public.  Spurred  on 
by  a  Park  Avenue  gold  digger,  Claire  Dodd, 
Pat  moves  into  society  and  the  shady  business 
of  selling  faked  antiques.  But  when  Miss  Park 
Avenue  walks  off  with  the  money,  Pat  goes 
back  to  Second  Avenue  and  Ann  Dvorak,  sad- 
der and  gabbier.  Fair  comedy  in  spots,  it's 
mostly  dull  and  heavy. 

LIMEHOUSE  BLUES— Paramount 

CIXISTER  business  in  this  one,  with  lurking 
^Chinese,  thugs,  dopes,  and  Scotland  Yard 
inspectors.  George  Raft  tilts  his  eyebrows  as  a 
half  caste  Oriental,  and  desires  Jean  Parker 
who  loves  Kent  Taylor.  Somehow  the  chills 
and  thrills  fall  flat.  It's  a  bit  gruesome  for  the 
kiddies,  and  old  stuff  for  the  grown  ups.  Anna 
May  Wong  is  fascinating  in  her  Hollywood 
return  role. 

ELINOR  NORTON— Fox 

'""PHIS  attempt  to  photograph  the  strange 
quirks  of  a  diseased  mind  is  hopeless  from 
the  start.  It  is  an  unbelievably  dull  picture. 
Taken  from  Mary  Roberts  Rinehart's  story, 
"The  State  Versus  Elinor  Norton,"  there  is 
nothing  left  of  "The  State"  and  very  little 
of  the  audience  after  the  first  reel.  Claire 
Trevor,  Hugh  Williams,  Gilbert  Roland,  Nor- 
man Foster  and  Henrietta  Crosman  can't  lift 
it  from  complete  boredom. 

AUTUMN  CROCUS— Associated 
Talking  Pictures 

"LJERE  is  a  picture  as  quiet  and  leisurely  as  a  . 
walk  in  the  country.  To  the  soft  accom-  j 
paniment  of  Tyrolian  folk  music  unfolds  the 
story  of  the  schoolmistress  (Fay  Compton) 
who,  touring  the  Alps,  falls  in  love  with  the 
young  inn-keeper  (Ivor  Novello)  before  she 
learns  he  is  married.  Adapted  from  the  stage 
success,  this  is  beautifully  photographed,  but 
rather  slowly  paced  for  the  average  movie-goer,  i 

NORAH  O'NE ALE— Clifton-Hurst 
Prod. 

TRELAND'S  Abbey  Players,  justly  famous  on 
the  stage,  fail  dismally  in  their  first  movie. 
Handicapped  by  a  seeming  lack  of  direction 
and  with  a  trite,  unconvincing  story,  they  do 
not  bring  to  the  screen  any  of  the  spontaneity 
and  charm  which  has  endeared  them  to  play- 
goers. Shots  of  the  Irish  country-side  and 
village  scenes  featuring  folk  dances  and  Irish 
music  are  the  only  bright  spots  in  the  film. 

GREEN  EYES— Chesterfield 

JUST   another    murder   mystery — the  usual  , 
stereotyped  story,  with  killings,  false  clues 
and  suicides.     An  old  man  is  murdered  at  a 
masquerade  party  and  suspicion  is  instantly  , 
thrown  upon  his  granddaughter  and  her  young 
sweetheart;  it's  the  writer  of  detective  stories,  I 
Charles  Starrett,  who  outwits  the  cops  and 
solves    the    mystery.       Claude    Gillingwater,   < 
Shirley  Grey,  William  Bakewell,  John  Wray 
and  Dorothy  Revier  are  all  adequate. 


Photoplay  Magazine  for  January,  1935 


121 


Copperfield  in  Quest  of  His  Youth 


CONTINUED  FROM   PAGE  W 


its  own  expense,  a  camera  crew  in  every  prin- 

•  cipal  point  throughout  the  whole  of  the  United 

States.    Men  who  waited  for  a  word  to  dash 

'  into  a  neighboring  state,  a  nearby  city  or  an 

obscure  hamlet  and  test  a  David. 

A  writer  from  the  studio,  who  was  planning  a 
trip  to  Europe,  was  detoured  through  Canada 
by  M-G-M  to  see  what  he  could  find  in  the  way 
of  a  Copperfield.   He  found  nothing. 

All  this  time,  remember,  would-be  Davids 

were  pouring  through  the  gates  of  the  studio  in 

,  Hollywood.  Testing  went  merrily  on.  Well,  no, 

!  not  merrily,  for  by  this  time  everyone  was 

pretty  well  convinced  that  no  David  existed,  or 

ever  had  existed,  and  they  might  as  well  give 

up  and  jump  in  the  ocean.  And  one  or  two 

actually  did,  so  it's  hinted.  August  loomed. 

j Letters  by  the  ton  poured  into  the  studio. 

jFrom  every  country  in  the  world  they  came. 

And  letters,  everyone  of  them,  had  to  be 

(answered    or   helpful    mothers    might    accept 

(silence  for  consent  and  bring  on  their  offspring. 

■And  goodness  knows,  things  were  bad  enough. 

When  enclosed  photographs  looked  at  all 

promising,  scouts  were  immediately  sent  to 

investigate.   Not  one  bet  was  overlooked.   But 

ialas,  all  these  Davids  proved  to  be  false  alarms 

and  August,  sad  as  I  am  to  say,  was  drawing  to 

a  close. 

I  "Let's  try  California  again  and  not  leave  a 
single  stone  unturned,"  was  suggested.  Adver- 
tisements appeared  in  every  newspaper  through- 
out the  state  of  California.  Announcements 
were  made  in  every  theater.  Arrangements  were 
nade  with  a  local  broadcasting  station  which, 
e  very  hour  of  the  day  beginning  at  twelve  o'clock 
midnight,  sent  out  calls  for  a  David. 

"  Do  you  have  a  David  Copperfield  in  your 
lome?  "  "  Do  you  know  of  a  David  Copperfield?  " 
The  plea  rang  out  over  the  air  again  and  again. 
Startled  groups  of  young  folk  paused  in  their 
lancing  to  listen.  Lonely  visitors  in  hotel  rooms 
ooked  up  in  amazement  at  the  plea.  The  ill,  in 
lospital  rooms,  pondered  over  the  quest. 

"David."  "David."  "David."  Up  and  down 
he  land,  the  cry  rang  out.  A  writer  at  the 
tudio  tells  of  going  home  that  evening  and 
ieing  met  at  the  door  by  her  father  who  was 
lore  than  a  little  deaf.  "  Well,  them  kidnap- 
ers have  been  at  it  again,"  he  said  excitedly. 
They've  been  yelling  for  the  boy  on  the  radio 
11  day.  'David,'  they  said  his  name  was."  And 
')  .tie  writer  practically  swooned  to  the  floor. 
As  many  as  three  thousand  boys  were  seen  in 


the  north  and  south  of  the  state  in  one  day. 
Talent  scouts  all  over  the  state  sent  back  to  the 
studio  a  total  of  sixty  or  seventy  prospects.  But 
none  qualified. 

It  looked  absolutely  hopeless  and  the  studio 
knew  it.  And  they  were  ready  to  admit  defeat. 
David  Selznick,  the  producer,  was  ready  to  give 
up  as  he  sat  at  his  desk.  Nervously,  he  whirled 
about  in  his  chair  to  speak.  And  then  sat 
motionless.   Frozen.   Unable  to  say  a  word. 

For,  in  the  doorway  stood  David.'  The  little 
boy.  The  lad  for  whom  they  had  searched  so 
long  and  faithfully  for  almost  a  year. 

v  You've  come,"  the  producer  said. 

"  Yes,"  the  lad  said  simply  and  that  was  all. 
Without  a  test  of  any  kind,  Mr.  Selznick  knew 
that  here,  indeed,  was  his  David. 

Little  Freddie  Bartholomew  had  traveled 
seven  thousand  miles  in  answer  to  the  plea  of  a 
great  studio  in  far  off  Hollywood.  At  the  time 
the  director  and  producer  had  been  in  England 
conducting  their  search,  he  had  been  unable  to 
get  to  them.  But  so  sure  was  his  aunt  that 
Freddie  was  the  one  and  only  David,  she  packed 
up  and,  with  Freddie  in  tow,  boarded  the  ship 
for  America  for  the  first  time. 

rPHE  New  York  offices  of  the  studio  weren't 
so  sure  about  Freddie  as  David,  so  at  the 
aunt's  expense,  the  two  traveled  over  the  vast 
and  strange  land  of  these  United  States  to 
Hollywood.    And  to  "David  Copperfield." 

A  bit  of  a  lad  is  Freddie,  with  the  same 
ethereal  sweetness  in  his  face  that  belonged  to 
the  youthful  Philippe  DeLacy.  The  "David 
Copperfield"  crew,  happy  and  working  at  last, 
look  after  the  lad  as  if  he  were  the  long  lost 
brother.  As,  indeed,  he  is.  Freddie  must  have 
his  milk  at  a  certain  time.  Freddie  must  have 
his  rest.  Freddie  must  be  watched  every  min- 
ute, every  second,  lest  he  disappear  before  their 
eyes  and  they're  right  back  where  they  were  all 
those  long,  hectic  months.  And  above  all, 
Freddie  must  be  protected  from  American  chil- 
dren and  their  American  twang.  That  precious 
English  accent  must  be  guarded  carefully. 

The  day  Freddie  announced  to  his  director, 
"Gee,  ain't  it  a  hot-diggedy  day,"  practically 
threw  the  studio  into  a  breaking  out  all  over. 
After  all,  the  search  was  too  long  and  fraught 
with  too  much  bitterness  to  be  spoiled  now. 
So,  until  after  "  David,"  little  English  Freddie, 
is  being  just  one  person.  And  that  is  Master 
Copperfield. 


Could  You  Love,  Honor  and 
Obey  These  Men? 


COXTIXUED  FROM  PAGE  32 


art  no  one.  And  if  you  tried  to  dominate  him, 
:)U  might  be  disappointed  in  him  and  in  your- 
■lf.  So  if  you're  one  of  those  women  who  are 
itermined  to  have  their  own  way,  there's 
.at  problem  to  ponder.  Tenderness  and 
'  oughtfulness  about  little  things,  birthday 
jesents,  anniversary  gifts,  flowers,  perfumes, 

[  the  things  that  make  married  life  a  continu- 

ion  of  two  lovers'  dreams,  would  come  from 

anchot. 

You  could  depend  on  that. 


So  here  we  have  them.  The  most  fascinating 
men  on  the  screen. 

The  men  who  have  lived  at  some  time  in 
every  girl's  heart.  Here  they  are — sweethearts 
by  proxy. 

Look  them  over,  girls,  make  your  choice, 
and  then  answer   to  yourself   this  question: 

"Could  I  love  him,  honor  him  and  obey 
him  through  sickness  or  health,  through 
poverty  or  wealth,  through  success  or  failure 
until  death  do  us  part?  " 


HEWyQ 


U&Oi 


d 


HEN  you  visit  New  York 
enjoy  the  comforts  of  an  ideal 
home  and  still  be  in  the  heart  of 
the   Motion    Picture   Art    Centre. 

* 

Parlor  with  Bedroom  and  Bath 

$C00  PER  DAy  single 

J—    Each  additional  person    $1.00 

$125.00  per  month  (single) 
($25  per  mo.  each  add.  person) 


Largest       Slnrle 

Boom    In  $3  CQ 

New  York  ■*■*" 

per  day  single 

(or     this     Beautiful     2-Room     Suite. 
3-Room   Suites   in   proportion. 

All  rooms  equipped  with  radio, 
combination  tub  and  shower  bath 
and  running  ice  water.  Ideal 
location  —  adjacent  to  shopping, 
business  and  theatre  districts. 

* 

Swimming  Pool  and   Gymnasium 

FREE  to  Guests. 

Write    for    details.        Telegraph    reservations 
(Collect) 

ENJOY  NEW  YORK'S  FAMOUS 

COCOANUT  GROVE 

AND 

TIC  TOC  CLUB 

56th  St.  at  7th  Ave. 
New  York  City 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"ANNE  OF  GREEN  GABLES"— RICO- Radio. 
— Based  on  the  book  by  L.  M.  Montgomery.  Screen 
play  by  Sara  Mintz.  Directed  by  George  Nicholls,  Jr. 
The  cast:  Anne,  Anne  Shirley;  Gilbert,  Tom  Brown; 
Matthew,  O.  P.  Heggie;  Marilla,  Helen  Westley;  Mrs. 
Barry,  Sara  Haden;  Mr.  Phillips,  Murray  Kinnell; 
Diana,  Gertrude  Messinger;  Mrs.  Bluett's  daughter, 
June  Preston;  Dr.  Talum,  Charley  Grapewin;  Mrs. 
Bluett,  Hilda  Vaughn. 

"AUTUMN  CROCUS" —  Associated  Talking 
Pictures. — From  the  story  by  C.  L.  Anthony.  Di- 
rected by  Basil  Dean.  The  cast:  Andreas  Sleiner,  Ivor 
Novello;  Jonny  Gray,  Fay  Compton;  Miss  Mayne, 
Muriel  Aked;  Edith,  Esme  Church;  Herr  Feldmann, 
Frederick  Ranalow;  Alaric,  Jack  Hawking;  Audrey, 
Diana  Beaumont;  Frau  Feldmann,  Mignon  O'Do- 
herty;  Reverend  Mayne,  George  Zucco;  Frau  Sleiner, 
Gertrude  Gould;  Minna,  Alice  Fandor;  Lenchen, 
Pamela  Blake. 

"BROADWAY  BILL"— Columbia. — From  the 
story  by  Mark  Hellinger.  Screen  play  by  Robert 
Riskin.  Directed  by  Frank  Capra.  The  cast:  Dan 
Brooks,  Warner  Baxter;  Alice,  Myrna  Loy;  J.  L. 
Higgins,  Walter  Connolly;  Margaret,  Helen  Vinson; 
Eddie  Morgan,  Douglas  Dumbrille;  Colonel  Petligrew, 
Raymond  Walburn;  Happy  McGuire,  Lynne  Over- 
man; Whiley,  Clarence  Muse;  Edna,  Margaret  Ham- 
ilton; Ted  Williams,  Frankie  Darro;  Collins,  Charles 
C.  Wilson;  Pop  Jones,  Harry  Todd;  Morgan's  hench- 
men. Ward  Bond,  Charles  Levison;  Joe,  George 
Cooper;  Henry  Early,  George  Meeker;  Arthur  Wins- 
low,  Jason  Robards;  Mrs.  Early,  Helen  Flint;  Mrs. 
Winslow,  Helene  Millard;  Jimmy  Baker,  Ed  Tucker; 
Presiding  Judge,  Edmund  Breese;  Whitehall's  Jockey, 
Bob  Tansill;  Mrs.  Peterson,  Clara  Blandick;  Mae,  Inez 
Courtney;  Chase,  Claude  Gillingwater;  James  White- 
hall, Paul  Harvey;  Interne,  James  Blakely;  Orchestra 
Leader,  Alan  Hale. 

"CAPTAIN  HATES  THE  SEA,  THE"— Co- 
lumbia.— From  the  story  by  Wallace  Smith.  Screen 
play  by  Wallace  Smith.  Directed  by  Lewis  Milestone. 
The  cast:  Schulle,  Victor  McLaglen;  Mrs.  Jeddock, 
Wynne  Gibson;  Mrs.  Magruder,  Alison  Skipworth; 
Steve  Bramley,  John  Gilbert;  Janet  Grayson,  Helen 
Vinson;  Danny  Checkett,  Fred  Keating;  Captain  Hel- 
quist,  Walter  Connolly;  Gerta  Kldrgi,  Tala  Birell; 
Orchestra,  Jerry  Howard,  Moe  Howard  and  Larry 
Fine;  Layton,  Leon  Errol;  Joe  Silvers,  Walter  Catlett; 
Judge  Griswold,  Claude  Gillingwater;  Mrs.  Griswold, 
Emily  Fitzroy;  Miss  Hackson,  Geneva  Mitchell;  Mr. 
Jeddock,  John  Wray;  Josephus  Bushmills,  Donald 
Meek;  Juan  Gilboa,  Luis  Alberni;  Salazaro,  Akim 
Tamiroff;  Major  Waringforlh,  Arthur  Treacher;  Flo, 
Inez  Courtney. 

"CHEATING  CHEATERS"  —  Universal.  — 
From  the  play  by  Max  Marcin.  Screen  play  by 
Gladys  Unger  and  Allen  Rivkin.  Directed  by 
Richard  Thorpe.  The  cast:  Nan  Brock/on,  Fay 
Wray;  Tom  Palmer,  Cesar  Romero;  Mrs.  Brockton, 
Minna  Gombell ;  Steve,  Hugh  O'Connell;  Tony,  Henry 
Armetta;  Dr.  Brockton,  Francis  L.  Sullivan;  Mr. 
Palmer,  Wallis  Clark;  Ira  Lazarre,  John  T.  Murray; 
Holmes,  Morgan  Wallace;  Phil,  George  Barraud; 
Finelli,  Harold  Huber;  Police  Capl.,  Reginald  Barlow. 

"COLLEGE  RHYTHM  "—Paramount.— From 
the  story  by  George  Marion,  Jr.  Screen  play  by 
Walter  DeLeon,  John  McDermott  and  Francis  Mar- 
tin. Directed  by  Norman  Taurog.  The  cast:  Joe, 
Joe  Penner;  Larry  Stacey,  Lanny  Ross;  Finnegan, 
Jack  Oakie;  June  Cort,  Helen  Mack;  Mimi,  Lyda 
Roberti;  Gloria  Van  Dayham,  Mary  Brian;  J.  P. 
Stacey,  George  Barbier;  Peabody,  Franklin  Pangborn; 
Peggy  Small,  Mary  Wallace;  Coach,  Dean  Jagger; 
Spud  Miller,  Joseph  Sauers;  Jimmy  Pool,  Julian  Mad- 
ison; Whimple,  Robert  McWade;  Whimple's  Secre- 
tary, Harold  Minjir;  Sonny  Whimple,  Bradley  Met- 
calfe; Timekeeper,  Lee  Phelps;  Stacey  Quarterback, 
Eric  Alden;  1st  Substitute,  Alfred  Delcambre;  Colton 
End,  Howard  Wilson. 

"ELINOR  NORTON  "—Fox.— From  the  novel 
"The  State  Versus  Elinor  Norton"  by  Mary  Roberts 
Rinehart.  Screen  play  by  Rose  Franken  and  Philip 
Klein.  Directed  by  Hamilton  MacFadden.  The  cast: 
Elinor  Norton,  Claire  Trevor;  Rene  Alba,  Gilbert  Ro- 
land; Christine  Somers,  Henrietta  Crosman;  Tony 
Norton,  Hugh  Williams;  Bill  Carroll,  Norman  Foster. 

"ENTER  MADAME" — Paramount. — From  the 
story  by  Gilda  Varesi  Archibald  and  Dorothea  Donn- 
Byrne.  Screen  play  by  Charles  Brackett  and  Gladys 
Lehman.  Directed  by  Elliott  Nugent.  The  cast:  Lisa 
Delia  Robbia,  Elissa  Landi;  Gerald  Fitzgerald,  Cary 
Grant;  Mr.  Farnum,  Lynne  Overman;  Flora  Preston, 
Sharon  Lynne;  Bice,  Michelette  Burani;  Archimede, 
Paul  Porcasi;  The  Doctor,  Adrian  Rosley;  Aline 
Chalmers,  Cecilia  Parker;  John  Fitzgerald,  Frank 
Albertson;  Tamamoto,  Wilfred  Hari;  Carlson,  Torben 
Meyer;  Bjorgenson,  Harold  Bertmist;  Operator,  Diana 
Lewis;  Scarpia,  (on  stage),  Richard  Bonnelli. 

"EVELYN  PRENTICE"— M-G-M  —  From  the 
novel  by  W.  E.  Woodward.    Screen  play  by  Howard 

122 


Emmett  Rogers  and  Lenore  Coffee.  Directed  by 
William  K.  Howard.  The  cast:  John  Prentice,  William 
Powell;  Evelyn  Prentice,  Myrna  Loy;  Amy  Drexel, 
Una  Merkel;  Mrs.  Harrison,  Rosalind  Russell;  Law- 
rence Kennard,  Harvey  Stephens;  Judith  Wilson,  Isa- 
bel Jewell;  Delaney,  Edward  Brophy;  Chester  Wylie, 
Henry  Wadsworth;  Dorothy  Prentice,  Cora  Sue  Col- 
lins; Mrs.  Blake,  Jessie  Ralph. 

"FIREBIRD,  THE"— Warners.— From  the  play 
by  Lajos  Zilahy.  Screen  play  by  Charles  Kenyon. 
Directed  by  William  Dieterle.  The  cast:  Carola 
Pointer,  Verree  Teasdale;  Herman  Brandt,  Ricardo 
Cortez;  John  Pointer,  Lionel  Atwill;  Marietta,  Anita 
Louise;  Police  Inspector,  C.  Aubrey  Smith;  Jolan, 
Dorothy  Tree;  Mile.  Mousquet,  Helen  Trenholme; 
Emile,  Hobart  Cavanaugh;  Halasz,  Robert  Barrat; 
Asst.  State  Manager,  Hal  K.  Dawson;  Stage  Manager, 
Russell  Hicks;  Max,  Spencer  Charters;  Professor 
Peterson,  Etienne  Girardot;  Thelma,  Florence  Fair; 
Alice  Yon  Attern,  Nan  Gray. 

"FLIRTATION  WALK"  —  First  National.  — 
From  the  story  by  Delmar  Daves  and  Lou  Edelman. 
Directed  by  Frank  Borzage.  The  cast:  Dick  "Canary" 
Dorcy,  Dick  Powell;  Kit  Fills,  Ruby  Keeler;  Sgt. 
Scrapper,  Pat  O'Brien;  Oskie  Berry,  Ross  Alexander; 
General  Fitls,  Henry  O'Neill;  2nd  Lieut.  Biddle,  John 
Eldridge;  Sleepy,  Guinn  Williams;  Eight  Ball,  Glen 
Boles;  Spike,  John  Arledge. 

"FUGITIVE  LADY"— Columbia.— From  the 
story  by  Herbert  Asbury  and  Fred  Niblo,  Jr.  Directed 
by  Albert  Rogell.  The  cast:  Donald  Brooks,  Neil 
Hamilton;  Ann  Duncan,  Florence  Rice;  Jack  Howard, 
Donald  Cook;  Aunt  Margaret,  Clara  Blandick;  Mrs. 
Brooks,  Nella  Walker;  Steve  Rogers,  William  Demar- 
est;  Rudy  Davis,  Wade  Boteler;  Joe  Nelson,  Ernest 
Wood;  Sylvia  Brooks,  Rita  LeRoy;  Mrs.  Clifford,  Rita 
Gould. 

"GAY  BRIDE,  THE"— M-G-M.— From  the  story 
by  Charles  Francis  Coe.  Screen  play  by  Bell  and  Sam 
Spewack.  Directed  by  Jack  Conway.  The  cast: 
Carole  Lombard,  Una  Merkel,  Chester  Morris,  Nat 
Pendleton,  Leo  Carrillo,  Arthur  Jarrett,  ZaSu  Pitts, 
Louis  Natheau,  Walter  Walker,  Ray  Mayer,  Garry 
Owen  and  Norman  Ainsley. 

"GENTLEMEN  ARE  BORN"  — First  Na- 
tional.— From   the   story   by   Robert  Lee  Johnson. 


With  plans  for  a  Christmas  wedding, 

Maureen  O'Sullivan  should  be  Mrs. 

John  Farrow  when  you  read  this.  But 

we're  not  betting 


Screen  play  by  Eugent  Solow  and  Robert  Lee  John- 
son. Directed  by  Alfred  E.  Green.  The  cast:  Bob 
Bailey,  Franchot  Tone;  Tom  Martin,  Ross  Alexander; 
Joan  Harper,  Margaret  Lindsay;  Susan  Merrill,  Ann 
Dvorak;  Trudy,  Jean  Muir;  Fred  Harper,  Jr.,  Robert 
Light;  Fred  Harper,  Sr.,  Henry  O'Neill;  Smudge,  Nick 
Foran;  Stephen  Hornblow,  Charles  Starrett;  Mrs. 
Harper,  Marjorie  Gateson;  Al,  Bradley  Paige. 

"GREAT  EXPECTATIONS"  —  Universal.  — 
Based  on  the  novel  by  Charles  Dickens.  Screen  play 
by  Gladys  Unger.  Directed  by  Stuart  Walker.  The 
cast:  Magwilch,  Henry  Hull;  Pip,  Phillips  Holmes; 
Estella,  Jane  Wyatt;  Miss  Havisham,  Florence  Reed; 
Joe  Gargery,  Alan  Hale;  Mrs.  Joe,  Rafaela  Ottiano; 
Herbert  Pocket,  Walter  Armitage;  Young  Herbert, 
Jackie  Searl;  Sarah  Pocket,  Eily  Malyon;  Molly,  Vir- 
ginia Hammond;  Young  Estella,  Ann  Howard;  Young 
Pip,  George  Breakston;  Uncle  Pumblechook,  For- 
rester Harvey;  Orlick,  Harry  Cording;  Compeyson, 
Douglas  Wood;  Drummle,  Philip  Dakin. 

"GIRLO'  MY  DREAMS"— Monogram.— From 
the  story  by  George  Waggner.  Directed  by  Ray  Mc- 
Cary.  The  cast:  Gwen,  Mary  Carlisle;  Larry,  Eddie 
Nugent;  Don,  Creighton  Chaney;  Bobby,  Arthur 
Lake;  Spec,  Sterling  Holloway;  Mary,  Gigi  Parrish; 
Kittens,  Jeanie  Roberts;  Smiley,  Tommy  Dugan; 
Coach,  Lee  Shumway;  Nip,  Beverly  Crane;  Tuck, 
Bettymae  Crane. 

"GREEN  EYES"  —  Chesterfield.  —  From  the 
novel  "The  Murder  of  Stephen  Kester"  by  H.  Ash- 
brook.  Directed  by  Richard  Thorpe.  The  cast:  Jean 
Kester,  Shirley  Grey;  Bill  Tracy,  Charles  Starrett; 
Stephen  Kester,  Claude  Gillingwater;  Inspector  Crof- 
ton,  John  Wray;  Cliff,  William  Bakewell;  Mrs.  Prit- 
chard,  Dorothy  Revier;  Mr.  Pritchard,  Alden  Chase. 

"HELL  IN  THE  HEAVENS"— Fox.— Based  on 
the  play  "The  Ace"  by  Hermann  Rossmann.  Screen 
play  by  Bryon  Morgan  and  Ted  Parsons.  Directed 
by  John  Blystone.  The  cast:  Lieut.  Sieve  Warner, 
Warner  Baxter;  Aimee,  Conchita  Montenegro;  2nd 
Lieut.  Hartley,  Russell  Hardie;  "Granny"  Biggs, 
Herbert  Mundin;  Sergeant  "Ham"  Davis,  Andy  De- 
vine;  Corporal  Teddy  May,  William  Stelling;  Lieut. 
"Pop"  Roget,  Ralph  Morgan;  Ace  McGurk,  Vince 
Barnett;  Captain  Andre  DeLaage,  William  Stack; 
Sergeant  Chevalier,  J.  Carrol  Naish;  Clarence  Perkins, 
Johnny  Arthur;  Baron  Kurt  Yon  Hagen,  Arno  Frey; 
Lieut.  Schroeder,  Rudolf  Amendt;  Sergeant  Cortez, 
Vincent  Carato. 

"I  SELL  ANYTHING"  — First  National.— 
From  the  story  by  Albert  Cohen  and  Robert  T. 
Shannon.  Screen  play  by  Brown  Holmes  and  Sidney 
Sutherland.  Directed  by  Robert  Florey.  The  cast: 
"Spot  Cash,"  Pat  O'Brien;  Barbara,  Ann  Dvorak; 
Millicenl,  Claire  Dodd;  Monk,  Roscoe  Karns;  Three 
Stooges,  Hobart  Cavanaugh,  Harry  Tyler,  Gus  Shy; 
Pertwee,  Leonard  Carey;  Smiley,  Russell  Hopton; 
Barouche,  Ferdinand  Gottschalk;  McPherson,  Robert 
Barrat;  Peter  Vangruen,  Clay  Clement. 

"  KENTUCKY  KERNELS  "  —  RKO- Radio.  — 
From  the  story  by  Bert  Kalmar  and  Harry  Ruby. 
Directed  by  George  Stevens.  The  cast:  Willie,  Bert 
Wheeler;  Elmer,  Robert  Woolsey;  Gloria,  Mary  Car- 
lisle; Spanky,  Spanky  McFarland;  Colonel  Wakefield, 
Noah  Beery;  Hannah  Milford,  Lucille  La  Verne;  Buck- 
shot, Sleep  'n'  Eat;  John  Wakefield,  William  Pawley; 
Colonel  Ezra  Milford,  Louis  Mason;  Jess  Wakefield, 
Frank  McGlynn,  Jr.;  Hank  Wakefield,  Richard  Alex- 
ander; Jerry  Bronson,  Paul  Page. 

"KID  MILLIONS" — Samuel  Goldwyn-United 
Artists. — Story  and  dialogue  by  Arthur  Sheekman, 
Nat  Perrin  and  Nunnally  Johnson.  Directed  by  Roy 
Del  Ruth.  The  cast:  Eddie,  Eddie  Cantor;  Jane  Lar- 
rabee,  Ann  Sothern;  Dot,  Ethel  Merman;  Jerry  Lane, 
George  Murphy;  Ben  AH,  Jesse  Block;  Fanya,  Eve 
Sully;  Colonel  Larrabee,  Berton  Churchill;  Louie  the 
Lug,  Warren  Hymer;  Sheik  Mulhulla,  Paul  Harvey; 
Khoot,  Otto  Hoffman;  Toots,  Doris  Davenport;  Her- 
man, Ed  Kennedy;  Oscar,  Stanley  Fields;  Adolph, 
John  Kelly;  Pop,  Jack  Kennedy;  Stymie,  Stymie 
Beard;  Tommy,  Tommy  Bond;  Leonard,  Leonard 
Kibrick;  Slade,  Guy  Usher. 

"LIGHTNING  STRIKES  TWICE"— RKO-Ra- 
dio. — From  the  story  by  Ben  Holmes  and  Marion 
Dix.  Directed  by  Ben  Holmes.  The  cast:  Stephen 
Brewster,  Ben  Lyon ;  Wally  Richards,  Skeets  Gallagher; 
Marty  Hicks,  Chick  Chandler;  Fay,  Pert  Kelton; 
Delia,  Margaret  Armstrong;  Judy  Nelson,  Thelma 
Todd;  Gus,  Walter  Catlett;  Captain  Nelson,  U.  S.  N., 
John  Hale;  Aunt  Jane,  Laura  Hope  Crews;  Phillips, 
John  Davidson;  Dugan,  Fred  Kelsey;  Police  Lieut. 
Foster,  Ed  Deering;  Casey,  Roger  Grey;  A  Policeman, 
Walter  Long. 

"LIMEHOUSE  BLUES"— Paramount.— Fmm 
the  story  by  Arthur  Phillips.  Screen  play  by  Arthur 
Phillips  and  Cyril  Hume.  Directed  by  Alexander 
Hall.  The  cast:  Harry  Young,  George  Raft;  Toni, 
Jean  Parker;  Tu  Tuan,  Anna  May  Wong;  Eric  Ben- 
ton, Kent  Taylor;  Pug  Talbot,  Montagu  Love;  Herb, 


Photoplay  Magazine  for  January,  1935 


Billy  Bevan;  Rhama,  Louis  Vincenot;  Ching  Lee. 
E.  Alyn  Warren;  Inspector  Sheridan,  Robert  Lorraine; 
McDonald,  Forrester  Harvey;  Smokey,  John  Rogers; 
Ass't  Commissioner  Kenyan,  Wyndliam  Standing; 
Mfred,  Robert  Adair;  Policeman,  Keith  Kenneth; 
Davis,  Colin  Kenny;  Slummer,  Eric  Blore;  Constable, 
Desmond  Roberts;  Maggie,  Tempe  Pigott;  Man. 
L'olin  Tapley;  Wife,  Rita  Carlyle;  Woman,  Eily 
Malyon. 

"LITTLE    FRIEND"— Gaumont-British. — 

prom  the  story  by  Margaret  Kennedy  and  Christo- 

iher  Isherwood.    Adapted  by  Berthold  Viertel.    Di- 

octed  by  Berthold  Viertel.    The  cast:  John  Hughes, 

Matlieson    Lang;    Helen    Hughes,    Lydia    Sherwood; 

,v    Hughes,    Nova    Pilbeam;    Hilliard,    Arthur 

Margetson;  Miss  Drew,  Jean  Cadell;  Leonard  Parry, 

jimmy  Hanley;  Thomson,  Gibb  McLaughlin;  Maud, 

liana   Cotton;    Mason,    Cecil    Parker;    French   Gov- 

.    Marcell    Rogez;    Mrs.    Parry,    Clare    Greet; 

Jeffries,  Jack   Raine;   Grove,   Finlay   Currie;   Colonel 

[ntbcrley,    Allan    Aynesworth;    Hal,    Robert    Kay; 

.   Joan   Davis;  Judge,  Lewis  Casson;   Dot,  Ve- 

onica  V'anderlyn;  Airs.  Amberley,  Margare  Halstan; 

title  Ned,  Robert  Nainby;  Shepherd,  Atholl  Fleming; 

doctor,  Basil  Goth;  Solicitor,  Charles  Childerstone; 

iutler,  Gerald  Kent;  Boy  at  party,  Hughie  Green;  Cab 

iriver,  Malcolm  Rignold;  Policeman,  Horace  Hunter. 

"LOST  IN  THE  STRATOSPHERE"— Moxo- 
;RAM. — From  the  story  by  Tristram  Tupper.  Screen 
Jay  by  Albert  DeMond.  Directed  by  Melville  Brown, 
'lie  cast:  Lieut.  Cooper,  William  Cagney;  Lieut.  Wood, 
"dward  Nugent;  Evelyn,  June  Collyer;  Sophie,  Lona 
indre;  Col.  Brooks,  Edmund  Breese;  Worthing/on, 
rank  McGlynn,  Sr.;  Hilda,  Pauline  Garon;  O' Toole, 
latt  McHugh;  Enfield,  Russ  Clark;  Sgl.  Byer,  Jack 
lack;  Grelchen,  June  Gittleson;  Ida  Johnson,  Hattie 
/lcDaniels. 

"LOYALTIES"— Harold  Autem  Prod.— From 
le  play  by  John  Galsworthy.  Directed  by  Basil 
>>ean.  The  cast:  Ferdinand  de  Levis,  Basil  Rathbone; 
targaret  Orme,  Heather  Thatcher;  Captain  Dancy, 
liles  Mander;  Mabel  Dancy,  Joan  Wyndliam;  Major 
olford,  Philip  Strange;  General  Canynge,  Alan  Na- 
ier;  Charles  Winsor,  Algernon  West;  Lady  Adela, 
ecily  Byrne;  Lord  St.  Erlh,  Athole  Stewart;  Sir 
rederic  Blair,  Patric  Curwen;  Lord  Chief  Justice, 
larcus  Barron;  Gilman,  Ben  Field. 

"MAN  OF  ARAN"— Gaumontt-British.— Editor 
id  scenarist,  John  Goldman.  Directed  by  Robert 
laherty.  The  cast:  A  Man  of  Aran,  "Tiger"  King; 
its  Wife,  Maggie  Dirrane;  Their  Son,  Michael  Dil- 
ne;  Shark  Hunting  Crew,  Pau  Mullin.  Patch  Ruadh, 
atcheen  Faherty,  Tommy  O'Rourke;  Canoe  Men, 
Big  Patcheen"  Conneely;  Stephen  Dirrane  and  Pat 
(cDonough. 

"MUSIC  IN  THE  AIR"— Fox.— From  the  op- 
etta  by  Oscar  Hammerstein,  II,  and  Jerome  Kern. 

reen  play  by  Robert  Leibmann,  Howard  I.  Young 
;id  Billie  Wilder.  Directed  by  Jerome  Kern.  The 
.st:  Frieda,  Gloria  Swanson;  Bruno,  John  Boles; 
arl,  Douglass  Montgomery;  Sieglinde,  June  Lang; 
r.  Lessing,  AI  Shean;  Weber,  Reginald  Owen;  Upp- 
ann,  Joseph  Cawthorn;  Cornelius.  Hobart  Bosworth; 
'artha.  Sara  Haden;  Anna,  Marjorie  Main;  Burgo- 
asler,  Roger  Imhof;  Kirschner,  Jed  Prouty;  Zipfel- 
tber,  Christian  Rub,  Nick,  Fuzzy  Knight. 

"NORAH  O'NEALE" — Clifton-Hurst  Prod. — 
iapted  from  the  novel  "Night  Nurse"  by  J.  John- 

i  bn  Abraham.    Directed  by  Brian  Desmond  Hurst. 

I  he   cast:    Fitz,    Lester    Matthews;    Norah,    Nancy 


Burne;  Otway,  Molly  Lamont;  Pip,  Patrick  Knowles; 
Hackey,  Torren  Thatclier. 

"PAINTED  VEIL,  THE"— M-G-M.— From  the 
story  by  W.  Somerset  Maugham.  Screen  play  by 
John  Meehan,  Salka  Viertel  and  Edith  Fitzgerald. 
Directed  by  Richard  Boleslawski.  The  cast:  Kalrin, 
Greta  Garbo;  Walter  Fane,  Herbert  Marshall;  Jack 
Townsend,  George  Brent;  General  Yu,  Warner  Oland; 
Herr  Koerber,  Jean  Hersholt;  Frau  Koerber,  Bodil 
Rosing;  Mrs.  Toivnsend,  Katherine  Alexander;  Olga, 
Cecilia  Parker;  Amah,  Soo  Yong;  Waddington,  For- 
rester Harvey. 

"RETURN  OF  CHANDU,  THE"— Principal. 
— From  the  story  by  Harry  Earnshaw,  Vera  Oldham 
and  R.  R.  Morgan.  Adapted  by  Barry  Barringer. 
Directed  by  Ray  Taylor.  The  cast:  Chandu,  Bela 
Lugosi;  Princess  Nadja,  Maria  Alba;  Mrs.  Dorothy 
Regent,  Clara  Kimball  Young;  Bob  Regent,  Dean  Ben- 
ton; Hetty  Regent,  Phyllis  Ludwig;  Vindkyan,  Lucien 
Prival;  Bara,  Cyril  Armbrister;  Voice,  Murdock  Mc- 
Quarrie;  Captain  Wilson,  Wilfred  Lucas;  Tyba,  Jo- 
seph Swickard. 

"ST.  LOUIS  KID.  THE"— Warners.— From 
the  story  by  Frederick  Hazlitt  Brennan.  Screen  play 
by  Warren  Duff  and  Seton  I.  Miller.  Directed  by 
Ray  Enright.  The  cast:  Eddie  Kennedy,  James  Cag- 
ney; A  nn  Reid,  Patricia  Ellis;  Buck,  Allen  Jenkins; 
Farmer  Benson,  Robert  Barrat;  Judge  Jones,  Arthur 
Aylesworth;  Muzzledopp,  Spencer  Charters;  Farmer 
Brmen,  Addison  Richards;  Louie,  Harry  Woods;  Joe 
Hunter,  Wm.  Davidson;  Grade,  Dorothy  Dare;  Other 
Girl,  Gertrude  Short;  Richardson,  Hobart  Cavanaugh; 
Harris,  Charles  Wilson;  Pete,  Eddie  Schubert. 

"SECRETS  OF  HOLLYWOOD"— Scott-Mer- 
pick  Prod. — From  the  story  by  Betty  Burbridge. 
Directed  by  George  M.  Merrick.  The  cast:  Mae 
Busch,  June  Walters,  Wally  Wales,  George  Cowl, 
Norbert  Myles,  David  Callis,  Ernie  Adams  and  Tom 
Francis. 

"TRANSATLANTIC   MERRY-GO-ROUND"— 

United  Artists. — From  the  story  by  Leon  Gordon. 
Directed  by  Benjamin  Stoloff.  The  cast:  Jimmy 
Brett,  Gene  Raymond;  Sally  Marsh,  Nancy  Carroll; 
Chad  Denby,  Jack  Benny;  Dan  Campbell,  Sydney 
Howard;  Mitzi,  Mitzi  Green;  Shortie,  Sid  Silvers;  Lee 
Lother,  Sidney  Blackmer;  Herbert  Rosson,  Ralph  Mor- 
gan; Anya  Rosson,  Shirley  Grey;  Jack  Summers,  Sam 
Hardy;  Joe  Saunders,  William  Boyd;  Inspector  Mc- 
Kinney,  Robert  Elliott;  Frank,  Frank  Parker;  Ned 
Marsh,  Carlyle  Moore;  Jean,  Jean  Sargent. 

"WHITE  PARADE,  THE"— Fox.— From  the 
novel  by  Rian  James.  Adapted  by  Sonya  Levien  and 
Ernest  Pascal.  Directed  by  Irving  Cummings.  The 
cast:  June  Arden,  Loretta  Young;  Ronald  Hall,  III, 
John  Boles;  Zila  Scofield,  Dorothy  Wilson;  Glenda 
Farley,  Muriel  Kirkland;  Gertrude  Mack,  Astrid  All- 
wyn;  Doctor  Thome,  Frank  Conroy;  Sailor,  Jane  Dar- 
well;  Doctor  Barnes,  Frank  Melton;  Doctor  Moore, 
Walter  Johnson;  Miss  Harrington,  Sara  Haden;  Una 
Mellon,  Joyce  Compton;  Pudgy  Slebbins,  June 
Gittelson. 

"WITHOUT  CHILDREN"— Liberty.— Sug: 
gested  by  Mrs.  Wilson  Woodrow's  "Eyes  of  Youth." 
Screen  play  by  Gertrude  Orr.  Directed  by  William 
Nigh.  The  cast:  David,  Bruce  Cabot;  Sue,  Mar- 
guerite Churchill;  Shirley,  Evelyn  Brent;  Phil,  Regi- 
nald Denny;  Baby  Carol,  Cora  Sue  Collins;  Sonny,  as 
child,  Dickie  Moore;  Carol,  Dorothy  Lee;  Sonny, 
William  Janney;  Mr.  Carr,  George  Cleveland;  Frieda, 
Lillian  Harmer. 


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ollywood  Cinema 


Fashions 


ALABAMA 

Van  Ritch  Co.,  Inc.,  Dothan 

ARIZONA 

Co-Ed  Shop,  Tucson 


CALIFORNIA 

The  May  Co.,  Los  Angeles 

The  Emporium,  San  Francisco 


CONNECTICUT 

Howland  Dry  Goods  Co.,  Bridgeport 
Scott  Furriers,  Inc.,  Hartford 
Style  Millinery  Shop,  New  Haven 
Sugenheimer  Bros.,  Waterbury 

DIST.  OF  COLUMBIA 
The  Hecht  Co.,  Washington 

FLORIDA 

Turner's,  Marianna 
Yowell-Drew  Co.,  Orlando 
Sam's  Style  Shop,  Pensacola 
Rutland  Bros.,  Inc.,  St.  Petersburg 
Steyerman's  Style  Shop,  Tallahassee 

GEORGIA 

Michael  Bros.,  Inc.,  Athens 
Davison-Paxon  Co.,  Atlanta 
Kiralfy  &  Company,  Columbus 
R.  L.  Stephens,  Dublin 
Leopold  Adler,  Savannah 

IDAHO 

Helene  Shop,  Idaho  Falls 

ILLINOIS 

Hollywood  Shops,  Benton 

A.  Livingston  &  Sons,  Bloomington 

W.  A.  Carpenter  Co.,  Champaign 

Mandel  Brothers,  Chicago 

Banks  &  Co.,  Moline 

The  D.  W.  Klein  Co.,  Peoria 

Newman's,  Waukegan 

INDIANA 

Wolf  &  Dessauer  Co.,  Fort  Wayne 

Blackstone  Shop,  Gary 

Fashion  Shop,  Lafayette 

The  Schmitt-Kloepfer  Co.,  Logansport 

IOWA 

Abraham  Brothers,  Inc.,  Davenport 

The  Pelletier  Co.,  Sioux  City 

KANSAS 

Bon  Marche,  Emporia 

Lewins  Fashion  Shop,  Wichita 

KENTUCKY 

The  John  R.  Coppin  Co.,  Covington 

Kaufman  Straus  Company,  Louisville 

LOUISIANA 

The  Dalton  Co.,  Baton  Rouge 

The  Parisian,  Crowley 

Belle  Scherck  Davidson,  Monroe 


PHOTOPLAY  MAGAZINE'S 
RETAIL  STORE  DIRECTORY 

Whenever  you  go  shopping  consult  this  list  of  reliable  stores, 
offering  faithful  copies  of  HOLLYWOOD  CINEMA  FASH- 
IONS and  NATIONALLY  KNOWN  MERCHANDISE,  such 
as  advertised  in  this  issue  of  Photoplay.  If  this  list  does 
not  include  a  store  in  your  home  city,  write  the  nearest  store 
for  complete  HOLLYWOOD  CINEMA  FASHION  information. 
And  when  you  shop,  please  mention  Photoplay  Magazine. 


La  Parisienne,  Inc.,  Lafayette 
Lord's,  New  Orleans 


MAINE 

Chernowsky's,  Augusta 
Unobskey's  New  York  Store,  Calais 
B.  Peck  Co.,  Lewistor 


MARYLAND 

Lazarus,  Cumberland 
Fashionland,  Hagerstown 


MASSACHUSETTS 
Alexander's  Fashion  Shop,  Brockton 
Forbes  &  Wallace,  Inc.,  Springfield 
Gross  Strauss  Co.,  Wellesley 
Gross  Strauss  Co.,  Worcester 

MICHIGAN 

The  J.  L.  Hudson  Co.,  Detroit 

Kobacker  Furniture  Company,  Flint 

Village  Women's  Shop,  Grosse  Pointe 

Fred  Mahoney's,  Kalamazoo 

The  Winkelman  Co.,  Port  Huron 

MINNESOTA 

M.  C.  Albenberg  Co.,  Duluth 

The  Dayton  Co.,  Minneapolis 

MISSISSIPPI 

Field's  Women's  Wear,  Jackson 

MISSOURI 

W.  E.  Blattner  &  Son,  Fulton 

Kline's,  Kansas  City 

The  Paris,  St.  Joseph 

Stix,  Baer  &  Fuller  Co.,  St.  Louis 

MONTANA 

Stiles  Style  Shop,  Great  Falls 

The  N.  Y.  Dry  Goods  Co.,  Helena' 

Epstein  &  Katz,  Miles  City 

NEW  JERSEY 
M.  E.  Blatt  Co.,  Atlantic  City 
L.  Bamberger  &  Co.,  Newark 
Claire  Shop,  Plainfield 
Lillian  Charm,  Trenton 

NEW  YORK 

Kalet's,  Auburn 

Hollywood  Fashions,  Binghampton 

E.  Jacobson,  Cooperstown 

W.  Scott  Argersinger  &  Sons,  Gloversville 


Parisian,  Inc.,  Ithaca 

The   Abrahamson-Bigelow    Company, 

Jamestown 
Idamae  Shoppe,  Johnstown 
John  Schoonmaker  &  Son,  Inc.,  Newburg 
R.  H.  Macy  &  Co.,  Inc.,  New  York  City 
M.  J.  McDonald  &  Co.,  Oswego 
McCurdy  and  Company,  Inc.,  Rochester 
The  Carl  Co.,  Schenectady 
Flah  &  Co.,  Inc.,  Syracuse 
Doyle-Knower  Company,  Utica 
Mabel  Bentley  Shoppe,  Watertown 


NORTH  CAROLINA 

Bon  Marche,  Inc.,  Asheville 
Lucielle  Shops,  Inc.,  Charlotte 
The  Fashion,  Durham 
Hurdle's,  Elizabeth  City,  N.  C. 
Ladies'  Sport  Shoppe,  Gastonia 
Neil  Joseph,  Goldsboro 
E.  L.  Brownhill,  Inc.,  Greensboro 
Purcells,  Kannapolis 
The  Ladies  Shop,  Kinston 
The  Corner  Shop,  Mount  Airy 
Purcelle  Modes,  Salisbury 
Dressmaker  Shop,  Wilmington 
Lucielle's  Dress  Shop,  Wilson 
W.  Robin  Co.,  Winston-Salem 

NORTH  DAKOTA 


G.  M.  Black,  Fargo 
Heller's,  Grand  Forks 


OHIO 


Spring-Holzworth  Co.,  Alliance 

The  W.  M.  Norvell  Co.,  Chillieothe 

Irwin's  &  Kline's,  Cincinnati 

The  Higbee  Co.,  Cleveland 

F.  &  R.  Lazarus  Company,  Columbus 

Elder  &  Johnston  Co.,  Dayton 

Simon's,  Findlay 

The  Leader  Store,  Lima 

The  King  Dry  Goods  Co.,  Newark 

The  Atlas  Fashion  Co.,  Portsmouth 

La  Salle  &  Koch  Co.,  Toledo 

OKLAHOMA 
Froug  Co.,  Inc.,  Tulsa 


OREGON 

Akey's  Inc.,  Pendleton 
Meier  &  Frank  Co.,  Portland 


PENNSYLVANIA 

Hess  Bros.,  Inc.,  Allentown 
H.  B.  Siegal  &  Sons,  Bethlehem 


Feldman's,  Bloomsberg 

Fashionland,  Chambersburg 

G.  C.  Davidson,  Connellsville 

Bush  &  Bull,  Easton 

Keefe  &  Johnson,  Erie 

La  Rose  Shop,  Greensburg 

The  Leader  Store,  Hanover 

Bowman  &  Co.,  Harrisburg 

Kline's,  Johnstown 

Gimbel  Bros.,  Philadelphia 

Joseph  Home  Co.,  Pittsburgh 

A.  G.  Rosenthal  &  Co.,  Punxsutawney 

Croll  &  Keck,  Reading 

Goldberg's,  Shenendoah 

Hal  Lewis,  Washington 

Hollywood  Apparel  Shop,  Wilkes-Barre 

Bells,  York 

RHODE  ISLAND 

Scott  Furriers,  Providence 

SOUTH  CAROLINA 

J.  W.  Haltiwanger,  Columbia 

The  Aug.  W.  Smith  Co.,  Spartansburg 

SOUTH  DAKOTA 
Olwin-Angell  Co.,  Aberdeen 
New  York  Store,  Deadwood 
The  Style  Shop,  Mitchell 
Schaller's,  Watertown 
The  Style  Shop,  Winner 

TENNESSEE 

Anderson  Dulin  Varnell,  Inc.,  Knoxville 
J.  Goldsmith  &  Sons,  Memphis 
Loveman,  Berger  &  Teitlebaum,  Inc., 
Nashville 

TEXAS 

Goodfriend  Specialty  Shop,  Austin 

Knobler's  Style  Shop,  Brownwood 

Herzstein's,  Dalhart 

Robt.  L.  Cohen,  Galveston 

Sakowitz  Brothers,  Houston 

VERMONT 

W.  G.  Reynolds  Co.,  Inc.,  Burlington 

Economy  Store,  Inc.,  Rutland 

VIRGINIA 

Claire's  Fashion  Shop,  Galax 

Jonas  Shoppes,  Inc.,  Richmond 

WASHINGTON 

The  Palace  Store,  Spokane 

WEST  VIRGINIA 

The  Women's  Shop,  Beckley 

The  Vogue,  Bluefield 

Jolliffe's,  Grafton 

F.  S.  Emmert  &  Son,  Martinsburg 

The  Hub,  Inc.,  Wheeling 

WISCONSIN 

E.  L.  Chester  Co.,  Belolt 

C.  &  S.  Newman's,  Green  Bay 

Wm.  Doerflinger  Co.,  La  Crosse 

Ed.  Schuster  &  Company,  Milwaukee 

BRITISH  WEST  INDIES 
Bronia  &  Co.  Kingston 


12k 


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Mary 
ckfords 


Search  for  Happiness 


MYRNA  LOY 


&bgr 


_. 


ERSPIRE  od&SUL  fi  .yet 

Seldom  Cafci?  Co/d 


UP  from  the  mine  pits,  dripping  with  per- 
spiration after  a  day  of  the  hardest  kind 
of  labor,  the  men  of  Spitzbergen  travel  miles 
over  icy  glaciers,  arriving  home  with  their 
shirts  frozen  to  their  backs.  Yet  they  seldom 
catch  cold.  Only  when  the  supply  ship 
arrives  in  the  spring  does  this  malady  attack 
them.  Then  hundreds  are  stricken. 

A  review  of  such  cold  epidemics  led  scien- 
tific men  eventually  to  the  belief  that  colds 
were  caused  by  germs,  not  by  exposure,  wet 
feet,  or  drafts  on  the  neck,  although  these 
may  be  contributing  causes.  But  only  re- 
cently have  they  come  close  to  the  truth  as 
to  the  source  of  this  common  affliction.  They 
now  declare  it  to  be  a  virus. 

Of  all  the  germs  known  to  Science,  none 
is  more  mysterious,  more  baffling,  and  elusive. 
No  one  has  ever  seen  the  nltrable  virus.  No 
filter  yet  devised  has  been  able  to  trap  it.  It 
can  neither  be  weighed  nor  measured.  Yet 
it  exists  and  causes  damage  estimated  at 
$450,000,000  annually.  Only  by  such  destruc- 
tive results  can  its  presence  be  established. 

Our  leading  scientists,  using  this  virus 
withdrawn  from  the  nose  of  a  cold  sufferer 
and  made  into  a  serum,  have  been  able  to 


produce  the  sufferer's  cold  in  many  other 
men.  Apes,  too,  have  responded  in  precisely 
the  same  way. 

Under  every-day  conditions,  the  virus 
enters  the  mouth,  nose,  and  throat.  Unless 
overcome  by  natural  or  medicinal  forces, 
it  is  likely  to  cause  a  cold.  The  "secondary 
invaders"  such  as  the  pneumococcus,  strep- 
tococcus, and  influenza  germs  which  so 
often  accompany  the  virus,  frequently  com- 
plicate and  aggravate  the  original  cold. 

Fight  germs  with  Listerine 

Clearly,  the  places  to  fight  both  invisible 
virus  and  visible  germs  are  the  mouth  and 
throat,  warm  fertile  breeding  grounds  that 
welcome  all  bacteria.  The  cleaner  and  more 
sanitary  you  keep  them, 
the  less  chance  germs  and 
infection  have  of  develop- 
ing, leading  authorities  de- 
clare. 

Many  go  so  far  as  to  say 
that  the  daily  use  of  an  an- 
tiseptic mouth  wash,  pro- 
vided it  is  safe,  will  prevent 
much  of  the   sickness  so 


METROPOLITAN 

GRAND   OPERA 

direct  from  its  N.  Y  stage 

Broadcast  by 

LISTERINE 

announced  by 

Geraldine  Farrar 

Every  Saturday,  all  NBC  stations 


common  in  the  mouth,  nose,  and  throat, 
and  urge  the  instruction  of  children  from 
their  earliest  years  in  the  disinfection  of 
these  cavities. 

For  this  purpose,  Listerine  has  been  con- 
sidered ideal  for  more  than  50  years,  by  the 
medical  profession  and  the  laity.  Non- 
poisonous  and  possessing  adequate  power  to 
kill  germs,  Listerine  is  so  safe  that  it  will  not 
harm  the  most  delicate  tissue.  At  the  same 
time  its  taste  is  delightful. 

Numerous  tests  conducted  by  our  staff  of 
bacteriologists,  chemists,  and  doctors,  and 
checked  by  independent  laboratory  techni- 
cians, reveal  Listerine's  power  against  the 
common  cold.  Twice-a-day  users  of  Lister- 
ine, it  was  shown,  caught  fewer  colds  and 
less  severe  colds  than  those 
who  did  not  use  it.  Enthusi- 
astic users  have  testified  to 
similar  results  in  unsolicited 
letters  to  this  company. 
Why  not  make  a  habit  of 
gargling  with  Listerine 
every  morning  and  every 
night?  Lambert  Pharma- 
col Co.,  St.  Louis,  Mo. 


For  Colds  and  SoreThroat.  .LISTERINE.  .The  Safe  Antiseptic 


Photoplay  Magazine  fo»"  February,  1935 


|\M4Cx" 


LOIS  JANUARY,  beautiful  Universal 
Pictures  player,  takes  no  chances  with 
her  slender  figure.  She  well  knows 
how  important  loveliness  is  to  her 
career.  In  Hollywood,  where  beauty 
is  their  business,  most  famous  stars 
eat  RY-KRISP  with  every  meal.They've 
learned  that  these  crisp,  whole  rye 
wafers  are  filling  but not jattening.T ry 
Ry-Krisp!  See  how  delicious  it  is 
with  any  food  .  .  .  how  popular  it  is 


7 


unc 


with  your  guests  when  you  entertain. 


Q    j  Mme.  SYLVIA 
ft*  of  Hollywood 

World  famous  authority  on  the 
feminine  figure  —  and  Hollywood 
masseuse.  Intimate  stories  about 
Hollywood — valuable  beauty  advice. 

Every  Wednesday  night,NBCNetwork, 
10:15  Eastern  Time  —  9:15  Central, 
8:15  Mountain,  7:15    Pacific  Coast. 


_ 


Photoplay  Magazine  for  February,  1935 


otm 


and  now  the  motion  picture 

that  wins 

SCREEN  FAME! 


Pronounced 


YAH" 


m 


Two  years  ago  it  was  the  dream  of  its  pro- 
ducers. Metro-Goldwyn-Mayer!  The  theme 
\\a>  m>  daring,  so  exciting  that  nothing  since 
"Trader  Horn"  could  equal  its  brilliant  nov- 
elty. Now  it  is  a  stirring  reality  on  the  screen. 
Out  of  the  High  Sierras,  out  of  the  wilderness 
that  is  America's  last  frontier .  .  .  roars  this 
amazing  drama  of  the  animal  revolt  against 
man.  A  Girl  Goddess  of  Nature!  A  ferocious 
mountain  lion  and  a  deer  with  human  in- 
stincts! Leaders  of  the  wild  forest  hordes!  A 
production  of  startling  dramatic  thrills  that 
defies  description  on  the  printed  page . . .  that 
becomes  on  the  screen  YOUR  GREATEST  EX- 
PERIENCE IN  A  MOTION  PICTURE  THEATRE! 


EOUOIA 


A    GIRL    GODDESS    OF    NATURE    LEADS 
THE   ANIMAL    REVOLT    AGAINST    MAN 


with 


JEAN  PARKER 

Produced  by  JOHN  W.  CONSIDINE,  JR. 
Directed  by  CHESTER  M.  FRANKLIN 

Based  on  the  novel  f'MaIibu**  by  Vance  Joseph  Hoyt 


The    World's    Leading     Motion     Picture     Publication 

KATHRYN  DOUGHERTY,  Publisher 

RAY    LONG,   Editor 


tVilliam  T.  Walsh,  Managing  Editor 


Ivan  St.  Johns,  Western  Editor 


k'ol  XLVII  No  3 


Winners  of  Photoplay 
Magazine  Gold  Medal  for 
the   best    picture   of   the    year 


"HUMORESQUE" 

1921 

"TOL'ABLE  DAVID' 

1922 

"ROBIN  HOOD" 


"THE  COVERED  WAGON" 

1924 

"ABRAHAM  LINCOLN" 

192S 

"THE  BIG  PARADE' 

1926 

"BEAU  GESTE" 

1927 

"7th  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 
WESTERN  FRONT" 

1931 

"CIMARRON" 
"SMILIN'  THROUGH" 

1933 

"LITTLE  WOMEN" 


February,  1935 


High-Lights  of  This  Issue 


Close-Ups  and  Long-Shots 

Hollywood,  My  Hollywood    . 

Who  Is  Your  Husband's  Favorite  Actress?    . 

The  School  That  Never  Has  a  Truant 

And  So  the  Great  Master  Arrives 

"We  Want  a  Divorce"  .  .  .  . 

Cal  York's  Monthly  Broadcast  from  Hollywood 

They  Didn't  Mean  to  Be  Funny 

Here's  the  Standard  for  Beautiful  Legs  and  Feet 

Seymour — Photoplay's  Style  Authority  . 

What  I  Like  and  Hate  About  Myself  . 

Mitzi's  Hollywood  Merry-Go-Round 

Photoplay's  Hollywood  Beauty  Shop 

"Awfternoon"  Tea       .  .  .  .  . 


Kathuyn  Dougherty 

.  Scoop  Conlon 

Ruth  Rankin 

Julie  Lang  Hunt 

.      KlRTLEY   BASKETTE 

Sara  Hamilton 

Winifred  Aydelotte 
Sylvia 

Winifred  Aydelotte 

Mitzi  Cummings 

Carolyn  Van  Wyck 

Jane  Hampton 


Photoplay's  Famous  Reviews 

Brief  Reviews  of  Current  Pictures       .... 
The  Shadow  Stage        ....... 


Personalities 

Mary  Pickford's  Search  for  Happiness 

He  Failed  for  a  Million  .... 

Carol,  Wally  and  Me        ... 

Marion  Davies'  Secrets  of  Success    . 

Nonchalant  Noel  Coward 

How  Carole  Lombard  Plans  a  Party 

The  New  Ambitions  of  Joan  Crawford 


Margaret  E.  Sangster 

Jerry  Lane 

Mrs.  Wallace  Beery 

William  P.  Gaines 

John  Rhodes  Sturdy 

Julie  Lang  Hunt 

,      KlRTLEY   BASKETTE 


On  the  Cover — Myrna  Loy — Painted  by  Earl  Christy 


Brickbats  and  Bouquets 
Hollywood  Menus    . 
Ask  the  Answer  Man   . 


Information  and  Service 

11       Addresses  of  the  Stars 
.        .  96       Screen  Memories  from  Photoplay 

104       The  Fan  Club  Corner 


Casts  of  Current  Photoplays 


110 


23 
26 
2S 
30 
36 
46 
48 
54 
56 
59 
68 
74 
78 
82 


8 

70 


34 
43 
44 
52 
58 
67 
76 


116 
117 
121 


Published   monthly   by   MACFADDEN   PUBLICATIONS,   INC. 

'rnarr  Macfadden,  President  Irene    T.    Kennedy,    Treasurer  ■  Wesley    F.    Pape,    Secretary 

ublishing  Office,  333  N.  Michigan  Ave.,  Chicago,  111.      Business  and  Editorial  Offices,  1926  Broadway,  New  York  City 

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irroll  Rheinstrom,   Advertising  Manager,   Graybar   Bldg.,   420   Lexington   Ave.,    New   York,    N.    Y.  Charles   H.    Shattuck,    Manager   Chicago    Office 

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Entered  as  second-class  matter  April  24,  1912,  at  the  Postoffice  at  Chicago,  111.,  under  the  Act  of  March  3,  1879 

Copyright.  1934.  by  Macfadden  Publications,  Inc.,  New  York 


M.  B.  Paul 


EVEN  you  two  hundred  per  cent  Americans  have  to  admit  that  the  studios 
overseas  certainly  send  Hollywood  exotically  beautiful  women.  One  of  the 
newest  and  loveliest  importations  is  Mady  Christians.  The  Continental  star 
made  her  American  screen  debut  in  "A  Wicked  Woman."     She's  with  M-G-M 


Photoplay  Magazine  for  February,  1935 


^/i^Tictm^ 


the  fighting  fury  of  the  screen 
meets     his    match    at    last    in 

BETH  [HIS 

—  a  hellcat  with  murder  on  her 
conscience  and  Muni  on  her  mind 

And  then  things  happenl  .  .  ,  Things 
that  will  burn  themselves  into  your 
memory  of  a  drama  which  combines  the 
best  features  of  "l  Am  A  fugitive"  and 
"Of  Human  Bondage" — Warner  Bros. 

filEHIffl 

with  Margaret  Lindsay  and  Eugene 
Pallette  delivering  the  other  standout 
performances  in  a  tremendous  cast, 
superbly   directed   by   Archie  Mayo. 


J 


J 


Consult  this  pic- 
ture shopping 
guide  and  save 
your  time,  money 
and  disposition 


Brief  R 


eviews  o 


r 


Current    1  ictiires 


tAj-  Indicates  photoplay  was  named  as  one  of  the  best  upon  Us  month  of  review 


A  DVENTURE  GI RL— RKO-Radio.— Unreeling 
Joan  Lowell's  exciting  adventures  in  the  tropics.  An 
liour  packed  with  action.     (Nov.) 

•  AGE  OF  INNOCENCE,  THE— RKO-Radio. 
— For  those  who  appreciate  an  intelligent  in- 
terpretation of  a  great  theme — love's  sacrifice  for  con- 
vention's sake.  John  Boles  and  Irene  Dunne  are  a 
splendid  team.     (Nov.) 

ALONG  CAME  SALLY— Gainsborough.— So-so 
British  musical  comedy  with  Cicely  Courtneidge.  in 
a  dual  role,  and  Sam  Hardy.     (Sept.) 

ANNE    OF    GREEN    GABLES— RKO-Radio.— 

Romance,  humor,  pathos  suitable  for  the  whole- 
family  in  this  story  of  the  orphan  (Anne  Shirley) 
adopted  by  O.  P.  Heggie  and  his  sister,  Helen 
Westley.    (Jan.) 

ARE  WE  CIVILIZED— Raspin  Prod.— A  drama- 
tization of  various  conflicts  from  the  beginning  of 
civilization,  with  a  powerful  sermon  on  world  peace 
by  William  Farnum.      (Sept.) 

AUTUMN  CROCUS— Associated  Talking  Pic- 
tures.— A  schoolmistress  (Fay  Compton),  touring 
the  Alps,  falls  in  love  with  a  young  inn-keeper  (Ivor 
Novello)  before  she  learns  he's  married.  A  little  slow, 
but  beautifully  done.  (Ja  n.) 

BABY  TAKE  A  BOW— Fox.— Shirley  Temple 
scores  again  as  the  daughter  of  an  ex-convict  (James 
Dunn)  accused  of  stealing  the  "pearls."  Alan  Dine- 
hart,  Claire  Trevor,  Ray  Walker.     (Sept.) 

BACHELOR  BAIT— RKO-Radio.— As  the  pro- 
moter of  a  matrimonial  agency  scheme,  Romance, 
Inc.,  Stuart  Erwin  is  perfect.  Pert  Kelton,  Skeets 
Gallagher  and  Rochelle  Hudson.     (Sept.) 

BADGE  OF  HONOR— Mayfair.— Phony  and 
amateurish,  with  some  pretty  awful  dialogue.  Buster 
Crabbe  and  Ruth  Hall.     (Nov.) 

•  BARRETTS  OF  WIMPOLE  STREET,  THE 
— M-G-M. — Well  nigh  perfect  is  this  adapta- 
tion of  the  stage  play,  with  Norma  Shearer  as  the 
invalid  poetess  and  Fredric  March  as  her  lover. 
Charles  Laughton  and  excellent  support.     (Oct.) 

•  BELLE  OF  THE  NINETIES— Paramount- 
La  West  comes  through  again  with  a  knockout 
performance.  Roger  Pryor,  John  Mack  Brown, 
Katherine  De  Mille  do  well.  But  the  film  is  a  major 
'riumph  of  Mae  over  matter.     (Nov.) 

BEYOND  BENGAL— Showmen's  Pictures.— Still 
another  jungle  story  with  thrilling  wild  animal  shots 
and  a  touching  native  romance.      (Aug.) 

BEYOND  THE  LAW— Columbia.— Railroad  de- 
tective Col.  Tim  McCoy's  investigation  of  a  killing  is 
packed  with  suspense  and  action.  Shirley  Grey 
(Oct.) 

•  BIG  HEARTED  HERBERT— Warners  — 
Just  one  heartfelt  laugh.  Guy  Kibbee  is 
grouchy  father,  continually  reminding  Aline  Mac- 
Mahon  and  their  children  of  his  struggle  to  success. 
(Nov.) 

BLACK  MOON— Columbia.— It  you're  in  the 
mood  to  see  a  white  woman  (Dorothy  Burgess)  en- 
slaved by  Voodooism,  you'll  probably  enjoy  this, 
lack  Holt  and  Fay  Wray  fine.     (Sept.) 

BLIND  DATE— Columbia.— Moderately  satis- 
factory film  fare  about  Ann  Sothern  going  out  with 
Neil  Hamilton  when  "steady"  Paul  Kelly  lets 
business  interfere  with  her  birthday  party      (Oct.) 

BLUE  LIGHT  THE— Mayfair  Prod.— This 
artistic  Leni  Riefenstahl  production  will  be  enjoyed 
by  all  intelligent  audiences  though  dialogue  is  in 
German  and  Italian.  Magnificent  camera  effects 
in    the    Tyrol.      (Aug.) 

BLUE  STEEL — Monogram. — John  Wayne  again 
outgallops,  outshoots  and  outwits  the  outlaws, 
and  rescues  heroine   Eleanor  Hunt.      (Aug.) 

8 


BRIDE    OF    THE    LAKE,     THE— Amer-Anglo 

Prod. — Pleasant  romance  against  a  background  of 
Irish  country  life.  Nobleman  John  Garrick  in  love 
with  peasant  girl  Gina  Malo.  Stanley  Holloway 
sings  Irish  ballads.     (Dec.) 

BRIDES  OF  SULU— Exploration  Pictures  Corp 
— Regard  this  as  a  scenic  travelogue  and  try  to  over- 
look the  poor  dialogue.  Interesting  customs  and 
characters,  with  Philippine  Archipelago  background 
(Oct.) 

•  BRITISH  AGENT— First  National.— Locale 
— Russia  during  the  war;  characters — Leslie 
Howard,  a  British  agent,  and  Kay  Francis  who  loves 
him,  but  is  also  passionately  devoted  to  her  country 
Deft  direction;    capable  cast.     See  this!     (Oct.) 

•  BROADWAY  BILL— Columbia.— Many  un- 
forgettable scenes  in  this.  Warner  Baxter 
breaks  with  paper-box  making,  his  domineering  wife 
(Helen  Vinson)  and  her  father  (Walter  Connolly). 
He  stakes  everything  on  a  gallant  race  horse — and 
Myrna  Loy.      (Jan.) 


Photoplay 

for 

MARCH! 

The  best  work  of 
famous  authors, 
famous  artists — 
a    corking    issue. 

On  your  newsstand 
Feb.  5 

Photoplay 


•  BULLDOG  DRUMMOND  STRIKES  BACK 
— 20th  Century-l'nited  Artists. — You  must 
see  Ronald  Colman  as  the  amateur  detective  who 
leaps  headlong  into  the  most  baffling  case  in  many  a 
day.  Loretta  Young,  Charles  Butterworth  fine. 
(Aug.) 

BY  YOUR  LEAVE— RKO-Radio.— You'll  chuckle 
plenty.  Frank  Morgan  is  the  picture,  as  the  husband 
in  his  forties  who  wants  to  be  naughty  and  has  for- 
gotten how.     Includes  Genevieve  Tobin.     (Dec.) 

CALL  IT  LUCK— Fox.— An  old  plot,  but  Her- 
bert Mundin's  cockney  cabby  characterization  and 
Pat  Paterson's  fresh  charm  make  it  fair  entertain 
ment       (Aug.) 

•  CAPTAIN  HATES  THE  SEA,  THE— Colum- 
bia.— Board  ship  and  meet  Captain  Walter 
Connolly,  tippling  reporter  John  Gilbert,  detective 
Victor  McLaglen,  Tala  Birell  and  other  favorites. 
It's  sprightly  and  comic.   (Jan.) 

•  CARAVAN — Fox. — For  a  riotous  carnival  of 
song,  dance,  costume  and  operetta  plot,  we 
recommend  this  film  laid  in  Hungary.  A-l  cast  in- 
cludes Jean  Parker,  Charles  Boyer,  Loretta  Young 
and  Phillips  Holmes.     (Nov.) 


CASE     OF     THE     HOWLING     DOG,     THE— 

Warners. — Smooth  and  clever,  different  and  divert- 
ing murder  varn.  Lawyer  Warren  William  solve? 
mystery      Mary  Astor.  Gordon  Westcott.     (Nov.) 

•  CAT'S  PAW,  THE— Fox.— Doing  his  familiar 
characterization — the  naive  young  man  for 
whom  even  the  most  difficult  situations  come  out 
well — Harold  Lloyd  scores  again !  This  time  he's  a 
missionarv's  son.  visiting  America  Una  Merkel. 
(Ocl.) 

CHAINED— M-G-M.— Splend.dly  written,  acted, 
directed,  with  Joan  Crawford  married  to  Otto 
Kruger  and  in  love  with  Clark  Gable.     (Nov  ) 

CHANGE  OF  HEART— Fox.— Admirers  ot  the 
Janet  Gaynor-Charles  Farrell  team  will  like  this 
ight  tale  about  their  experiences  with  two  college 
chums   in    the   big   town       (.4  fig.) 

CHANNEL  CROSSING  —  Gaumont- British.— 
Melodrama  aboard  the  Dover-Calais  liner,  in  which 
Constance  Cummings,  Anthony  Bushell,  Nigel 
Bruce,  Matheson  Lang  all  take  important  parts. 
(Aug.) 

CHARLIE  CHAN  IN  LONDON— Fox— Warner 
Oland  (Charlie  Chan)  has  three  days  to  prevent  ex- 
ecution of  Drue  Leyton's  brother,  accused  of  a 
murder  he  did  not  commit.    Alan  Mowbray  involved. 

(Dec.) 

CHARLIE  CHAN'S  COURAGE  —  Fox.  —  This 
yarn,  centering  around  Warner  Oland's  difficulties  in 
delivering  a  string  of  pearls,  is.  the  least  amusing  of 
the  Charlie  Chan  series.     (Sept.) 

CHEATING  CHEATERS— Universal.— A  mys» 
tery  and  crook  picture,  with  comedy  and  gags.  Fay 
Wray  is  the  girl  crook,  and  Henry  Armetta,  Hugh 
O'Connell  are  the  comics.    Has  a  snapper  twist.  (Jan.) 

CHU  CHIN  CHOW—  Fox-Gaumont- British- 
Colorful  British  version  of  Ali  Baba  and  the  Forty 
Thieves.  Fritz  Kortner,  German  star,  and  Anna 
May  Wong  excellent  in  leads.     (Dec.) 

CIRCUS  CLOWN,  THE— First  National.— Joe 
E.  Brown  splendid  in  the  sympathetic  role  of  circus 
roustabout  who  later  becomes  a  trapeze  artist. 
Patricia  Ellis  and  good  support.      (Aug.) 

CITY  PARK— Chesterfield.— As  one  ot  three 
cronies  who  become  involved  in  the  destiny  of  a  girl 
(Sallie  Blane)  gone  broke  in  the  big  city,  Henry  B. 
Walthall  is  superb.     (Nov.) 

•  CLEOPATRA  —  Paramount.  —  A  passionate 
love  story,  with  Claudette  Colbert  splendid  in 
the  title  role,  VVarren  William  as  Caesar,  and  Henry 
Wilcoxon  as  Antony.  A  typical  DeMille  spectacle. 
(Sept.) 

•  COCKEYED  CAVALIERS— RKO-Radio  — 
A  hilarious  hour  in  Merrie  Olde  England  with 
Wheeler  and  Woolsey,  Dorothy  Lee,  Thelma  Todd 
and  Noah  Beery.     Two  sure-fire  song  hits.     (Aug.) 

•  COLLEGE  RHYTHM— Paramount.— A  bright, 
tuneful  collegiate  musical.  Footballer  Jack 
Oakie  steals  gill  friend  Mary  Brian  from  Lanny  Ross. 
Joe  Penner  puts  in  plenty  of  laughs.  (Jan). 

•     COUNT  OF  MONTE  CRISTO.THE— United  ! 

Artists. — A  thrilling  film  which  builds  steadily  { 

to  the  dramatic  courtroom  climax.     Robert  Donat  is  ' 
Dantes;  Elissa  Landi  fine,  too.     (Nov.) 

•  CRIME  WITHOUT  PASSION— Paramount. 
— A  truly  remarkable  picture,  that  has  for  its 
theme  the  workings  of  an  unscrupulous  mind.  Claude 
Rains,  Margo,  Whitney  Bourne  all  first-rate  Sus- 
pense maintained  throughout.     (Nov.) 

CRIMSON  ROMANCE— Mascot.— War  story, 
good  flying,  plenty  combat  scenes.  Two  pals,  Ben 
Lyon  and  James  Bush,  both  fliers,  of  course,  fall  in 
love  with  ambulance  driver  Sari  Maritza.     (Dec.) 

DAMES — Warners. — A  barrel  ot  good  humor,  and 
excellent  tunes  by  Dick  Powell,  teamed  again  with 
Ruby  Keeler.  ZaSu  Pitts,  Guy  Kibbee,  Hugh 
Herbert  supply  comedy,  and  Joan  Blondell  lends  a 
snappy  touch.      (Oct.) 

[  PLEASE  TURN  TO  PAGE  10  | 


Photoplay  Magazine  for  February,  1935 


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Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  8 


DANCING  MAN — Pyramid. — Mediocre  murder 
mystery,  featuring  Reginald  Denny  as  a  gigolo  in  love 
with  Judith  Allen  and  affairing  with  her  step- 
mother. Natalie  Moorhead      (Oct.) 

•  DANGEROUS  CORNER—  RKO-Radio.—  A 
story  with  two  endings — what  happened  and 
the  "cover-up."  Involves  a  "suicide" — actually  a 
murder.  Full  of  startling  revelations.  Ian  Keith. 
Erin  O'Brien  Moore,  Conrad  Nagel,  Melvyn  Douglas. 
Virginia  Bruce,  others.     Excellent.     {Dec.) 

DEATH  ON  THE  DIAMOND— M-G-M— Im- 
probable  in  spots,  yet  meat  for  baseball  and  mystery 
devotees.  Paul  Kelly  convincing  as  a  reporter. 
Robert  Young  and  Madge  Evans  love  interest    (Nov.) 

DEFENSE  RESTS,  THE— Columbia.— Enter 
taining  story  of  a  none-too-ethical  but  unbeatable 
criminal  lawyer  (Jack  Holt)  forced  to  defend  a  kid 
naper.     Jean  Arthur.     (Nov.) 

DESIRABLE— Warners.— A  neat  gem  that  will 
please  the  entire  family.  New  laurels  for  Jean  Muh 
and  George  Brent.     (Nov.) 

DOWN  TO  THEIR  LAST  YACHT— RKO- 
Radio. — Fine  cast  wasted  in  this  tale  of  "Blue 
Bookers"  of  1929  giving  away  to  "Brad  Streeters"  of 
1934.  Sidney  Fox,  Ned  Sparks,  Polly  Moran,  Marv 
Boland,  Sidney  Blackmer.     (Nov.) 

DRAGON  MURDER  CASE,  THE  —  Firs 
National. — Not  up  to  the  S.  S.  Van  Dine  standard — 
nevertheless  satisfactory  film  fare.  Warren  William 
is  a  convincing  Philo  Vance.  Helen  Lowell,  Mar- 
garet Lindsay.  Lyle  Talbot.     (Nov.) 

DR.  MONICA — Warners. — Kay  Francis  handles 
the  title  role  with  finesse.  And  Jean  Muir,  as  tin- 
friend  in  love  with  Kay's  husband  (Warren  William  I 
is  superb.     (Sept.) 

DUDE  RANGER,  THE— Fox— If  you  like  West- 
erns, you  may  like  this  one.  George  O'Brien  rides. 
Irene  Hervey,  Leroy  Mason,  Henry  Hall  in  it.    (Dec.) 

ELINOR  NORTON— Fox.— A  completely  boring 
attempt  to  depict  the  quirks  of  a  diseased  mind. 
Claire  Trevor,  Hugh  Williams,  Gilbert  Roland 
bogged   down    by   it.      (Jan.) 

ELMER  AND  ELSIE— Paramount.— Light  familj 
fare,  with  Frances  Fuller  and  George  Bancroft  who 
reveals  hitherto  concealed  comedy  talents.     (Oct.) 

EMBARRASSING  MOMENTS— Universal— In 
the  role  of  a  practical  joker,  Chester  Morris  does  an 
excellent  acting  job,  and  there's  never  a  dull  moment 
Marian    Nixon,    Walter    Woolf.      (Aug.) 

ENTER  MADAME— Paramount.— Spotty  enter- 
tainment despite  Elissa  Landi's  brilliant  perform- 
ance as  a  capricious  prima  donna.  Gary  Grant,  her 
bewildered  spouse,  has  a  brief  relief  in  a  quieter  love. 
(Jan.) 

•  EVELYN  PRENTICE— M-G-M.— Myrna  Loy 
thinks  she  has  murdered  a  man,  but  Isabel 
Jewell  is  accused.  Then  Myrna's  lawyer-husband  is 
engaged  to  defend  Isabel.  Another  Lov-Powell  hit. 
(Jan.) 

FIREBIRD,  THE— Warners.— Ricardo  Cortez. 
actor,  is  killed  when  he  tries  to  ensnare  Verree  Teas- 
dale,  Lionel  Atwill's  wife,  in  a  love  trap,  catching 
instead  Verree's  daughter,  Anita  Louise.  Good  adult 
entertainment.     (Jan.) 

•  FLIRTATION  WALK— First  National- 
Colorful  West  Point  is  the  background  of  the 
Dick  Powell-Ruby  Keeler  charm.  Pat  O'Brien's  a 
tough    sergeant.      Take   tire    family     (Jan.) 


FOR  LOVE  OR  MONEY— British  &  Dominion. 
— Catalogue  this  one  under  "  Mild  and  Slow-Moving.' 
Wendy  Barrie  and  Robert  Donat  play  the  leads 
(Oct.) 

FOUNTAIN,  THE— RKO-Radio.— Rather  slow- 
moving,  yet  exquisitely  produced  with  a  capable  cast 
ncluding  Ann  Harding  Paul  Lukas  and  Brian 
Aherne.     (Nov.) 

FRIDAY  THE  13th— Gaumont-British.— An  in- 
teresting and  revealing  check-back  on  the  activities 
of  several  persons  who  are  in  a  bus  crash  at  mid- 
night of  this  fateful  day.      (Aug.) 

FRIENDS  OF  MR.  SWEENEY— Warners— Fair 
slapstick,  with  Charles  Ruggles  a  scream  as  the  row- 
dy college  lad  who  becomes  a  brow-beaten  editorial 
writer.     Eugene  Pallette,  Ann  Dvorak       (Aug.) 

FUGITIVE  LADY— Columbia.— Florence  Rice 
makes  a  successful  film  debut  as  a  woman  on  her  way 
to  jail,  double-crossed  by  a  jewel  thief  (Donald 
Cook),  when  a  train  wreck  puts  her  into  the  role  of 
the  estranged  wife  of  Neil  Hamilton.  Plenty  of  action. 
[Jan. I 

GAY  BRIDE,  THE— M-G-M.— Chorine  Carole 
Lombard,  out  for  a  husband,  becomes  involved  with 
gangsters  who  bump  each  other  off  for  her  pleasure. 
Nat  Pendleton,  Sam  Hardy,  Leo  Carrillo  pay  while 
Chester  Morris  wins.     (Jan.) 

•  GAY  DIVORCEE,  THE  —  RKO-Radio.  — 
Grandly  amusing.  Fred  Astaire's  educated 
dancing  feet  paired  with  those  of  Ginger  Rogers. 
He's  mistaken  for  a  professional  corespondent  by 
Ginger,  seeking  a  divorce.  Edward  Everett  Horton, 
Alice  Brady  pointed  foils.     (Dec.) 

GENTLEMEN  ARE  BORN— First  National  — 
Franchot  Tone  is  one  of  four  college  pals  trying  to 
find  a  job  today.  Jean  Muir,  Nick  Foran,  others 
good.     It  has  reality.     (Jan.) 

•  GIFT  OF  GAB— Universal.— Edmund  Lowe, 
fast  talking  news  announcer,  flops,  but  is 
boosted  up  by  Gloria  Stuart.  Story  frame  for  gags, 
songs,  sketches.  Alexander  Woollcott,  Phil  Baker, 
Ethel  Waters,  Alice  White,  Victor  Moore.     (Dec.) 

•  GIRL  FROM  MISSOURI,  THE— M-G-M 
— Fast  and  furious  adult  fare,  presenting  Jean 
Harlow  as  a  "good  girl"  chorine,  and  Franchot 
Tone  as  her  millionaire  "catch."  Fine  cast  includes 
Lionel  Barrymore.      (Oct.) 

GIRL  OF  THE  LIMBERLOST,  A— Monogram. 
— Folks  who  enjoyed  Gene  Stratton  Porter's  novel 
will  want  to  see  this.  Marian  Marsh.  Louise  Dresser 
Ralph  Morgan  well  cast.     (Nov.) 

GIRL  O'  MY  DREAMS— Monogram.— Much 
rah-rah  and  collegiate  confusion,  with  Sterling  Hollo- 
way's  comicalities  unable  to  pull  it  through.  Mary 
Carlisle,  Eddie  Nugent  do  well.      (Jan.) 

GRAND  CANARY— Fox.— Weak  tale  of  a  doctor 
(Warner  Baxter)  who,  having  been  "gossiped"  out  of 
his  profession,  recaptures  past  standing  by  wiping  out 
a  plague  of  yellow  fever.  Madge  Evans  is  his 
romance.      (Sept.) 

•  GREAT  EXPECTATIONS  —  Universal- 
Dickens'  charm  preserved  by  George  Breakston 
as  orphaned  Pip.  later  by  Phillips  Holmes.  Florence 
Reed,  Henry  Hull  and  others.     (Jan.) 

GREAT  FLIRTATION,  THE— Paramount- 
Jumbled  and  sentimental  but  colorful  story  of  an 
actor's  (Adolphe  Menjou)  losing  popularity  with 
marriage,  and  his  wife  (Elissa  l^andi)  becoming  a 
star.      (Aug.) 


GREEN    EYES  —  Chesterfield.  —  A    stereotyped    ; 
murder  mystery.     Charles  Starrett,  Claude  Gilling- 
water,  Shirley  Grey,  William  Bakewell,  John  Wray, 
Dorothy  Revier  are  adequate.     (Jan.) 

•  HAPPINESS  AHEAD  —  First  National.  — 
Tuneful  and  peppy.  About  a  wealthy  miss  and 
(honest!)  a  window  washer.  Josephine  Hutchinson 
(fresh  from  the  stage),  and  Dick  Powell  are  the  two. 
You'll  like  it  and  hum  the  tunes      (Dec.) 

HAPPY  LANDING — Monogram.— Plenty  oi 
thrills  when  Border  Patroller  Ray  Walker  goes  after 
crooks  who  use  the  radio  to  get  him  in  a  jam,  and 
threaten  bombing  an  ocean  liner.  A-l  support. 
(Oct.) 

HAT,  COAT  AND  GLOVE— RKO-Radio.— Fair 

adaptation  of  the  stage  play,  in  which  lawyer  Ricardo 
Cortez  defends  his  wife's  lover,  accused  of  murder     , 
Superb  performances  by  every  cast  member.     (Oct.) 

HAVE  A  HEART— M-G-M.— A  wistful  tale  about 
the  love  of  a  cripple  (Jean  Parker)  for  an  ice-cream 
vendor  (Jimmy  Dunn).  Una  Merkel  -  Stuart  Erwin 
are  a  good  comedy  team      (Nov. ) 

HEART  SONG— Fox-Gaumont-British— A  pleas- 
ant little  English  film  with  Lilian  Harvev  and  Charles 
Boyer.      (Sept.) 

HELL    IN    THE    HEAVENS— Fox— A    gripping 

depiction  of  a  French  air  unit  in  the  late  war.  Warner 
Baxter  is  an  American  with  the  outfit.  Conchit.i 
Montenegro  is  the  only  feminine  influence.     (Jan.) 

HERE    COMES    THE    GROOM— Paramount  — 

So-so  comedy  featuring  Jack  Haley  whom  Patricia 
Ellis  introduces  to  family  as  her  crooner  husband. 
But    the  real   crooner  turns   up — and   then!     (Aug.) 

•  HERE  COMES  THE  NAVY— Warners— One 
of  the  best  Cagney  pictures  to  date,  and  prob- 
ably the  most  exciting  navy  picture  you've  seen. 
Jimmy,  Pat  O'Brien,  Gloria  Stuart  and  Frank 
McHugh  all  turn  in  ace  performances.     (Sept.) 

HE  WAS  HER  MAN— Warners.— Jimmy  Cagney 
in  a  gangster  film  with  a  brand-new  angle.  Joan 
Blondell,    Victor    Jory.     Fair       (Aug.) 

•  HIDE-OUT— M-G-M.— As  a  racketeer  play 
boy,  escaped  from  police,  and  being  "done 
over"  by  Maureen  O'Sullivan.  Robert  Montgomery 
does  a  fine  job.  In  fact,  every  one  in  the  cast  rates 
praise       (Oct.) 

HIGH  SCHOOL  GIRL— Bryan  Foy  Prod.— Plot 
and  dialogue  are  directed  toward  early  sex  knowledge. 
Well  presented.  Crane  Wilbur,  Cecilia  Parker 
(Aug.) 

•     HIS  GREATEST  GAMBLE—  RKO- Radio- 
Richard    Dix's  struggle   with   his  convention- 
loving  wife  for  the  molding  of  daughter  Edith  Fellows'    ' 
character   makes  interesting  screen   fare       Dorothy 
Wilson  and   Bruce  Cabot.     (Sept.) 

HOUSEWIFE— Warners.— Encouraged  by  his 
wife  (Ann  Dvorak),  George  Brent  starts  his  own 
business,  acquiring  wealth  and  a  mistress  (Bette 
Davis).     Just  so-so  entertainment      (Oct.) 

•  HUMAN  SIDE,  THE— Universa..— Accu- 
rately titled — a  family  story  that  is  entertain- 
ing from  start  to  finish.  Adolphe  Meniou,  Doris 
Kenyon,  Reginald  Owen.     (Nov.) 

1  CAN'T  ESCAPE— Beacon  Prod.— Onslow 
Stevens  does  a  grand  characterization  of  the  ex- 
convict  who  goes  straight  when  he  meets  the  right 
girl     (Lila    Lee).      (Aug.) 

[  PLEASE  TURN  TO  PAGE  13  ] 


Photoplays   Reviewed  in  the  Shadow  Stage  This  Issue 


Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evening  s  ent 

Page                                                                       Page 
Home  on  the  Range — Paramount 112 


Babbitt— First  National 72 

Babes  in  Toyland — Hal  Roach-M-G-M.   72 
Battle,  The — Leon  Garganofi  Prod.  ...    73 

Behold  My  Wife— Paramount 72 

Bright  Eyes — Fox 71 

Curtain  Falls,  The — Chesterfield 112 

Dealers  In  Death — Tropical  Film 113 

Evensong — Gaumont-British 73 

Father  Brown,  Detective — Paramount.  112 

Fighting  Rookie,  The— Mayfair 113 

Flirting  With  Danger — Monogram      .    112 
Fugitive  Road — Invincible 112 


I  Am  a  Thief — Warners 73 

Imitation  of  Life^-Universal 70 

In  Old  Sante  Fe— Mascot 112 

It's  a  Gift — Paramount 72 

Marie  Galante — Fox 72 

Maybe  It's  Love — First  National  112 
Mighty  Barnum,  The — 20th  Century- 
United  Artists 70 

Night  Alarm — Majestic  112 

One  Hour  Late — Paramount 72 


ertamment.     Ma\e  this  your  reference  list. 

Page 

Perfect  Clue,  The — Majestic 112 

President  Vanishes,  The — Walter  \\  an- 
ger-Paramount      71 

Red  Morning— RKO-Radio  112 

Romance  in  Manhattan — RKO-Radio     71 

Sequoia— M-G-M 70 

Silver  Streak,  The— RKO-Radio 112 

Strange  Wives — Universal 73 

West  of  the  Pecos— RKO-Radio 73 

When  a  Man  Sees  Red — Universal.  .  .  .  112 
Wicked  Woman,  A— M-G-M 73 


10 


Brickbats  A  Bouquets; 

THE  AUDIENCE  TALKS  BACK  •••• 


When  the  audience  speaks  the  stars  and  producers  listen.  We  offer  three  prizes  tor  the  best 
letters  of  the  month — $25,  $10  and  $5.  Literary  ability  doesn't  count.  But  candid  opinions  and 
constructive  suggestions  do.  We  reserve  the  right  to  cut  letters  to  fit  space  limitations.  Address 
The  Editor,  PHOTOPLAY  Magazine,  1926  Broadway,  New  York  City. 


THE  $25  LETTER 

I  am  quite  sure  this  is  the  first  letter  you  have 
ever  received  from  one  who  listens  to  your  mag- 
azine. I  am  a  blind  boy  of  eighteen,  but  every 
month  I  buy  Photoplay  and  my  sister  reads 
it  to  me. 

I  go  to  the  movies  very  often,  more  often 
than  the  average  person,  even  though  I  cannot 
see  the  pictures.  At  the  top  of  my  list  of  favor- 
ites is  Ann  Sothern,  then  Fay  Wray,  Myrna 
l.ov.  Kitty  Carlisle,  Grace  Moore,  Maureen 
O'Sullivan.  Of  the  men,  Fredric  March,  Joe  E. 
Brown  and  William  Powell 

Once  in  a  movie  house  I  saw — or  thought  I 
saw — a  flash  of  light  and  a  movement  of 
objects  for  a  second.  The  doctor  says  perhaps 
I  did  see  it.  And  that  second  of  "sight"  pro- 
vides me  with  my  only  ray  of  hope — hope 
found  in  one  of  your  movie  palaces — that  some 
day  I  too  may  see. 

E.  N.  V.,  New  York  City 

THE  $10  LETTER 

I  am  a  widower  with  six  youngsters,  and  the 
movies  are  helping  me  with  the  many  real  prob- 
lems I  have  to  solve. 

Although  we  live  twenty  miles  from  town, 
the  children  and  myself  go  in  to  a  movie  about 
once  every  two  weeks.  If  it's  a  Janet  Gaynor 
(picture,  the  girls  insist  on  our  going.  If  it's 
Will  Rogers,  my  eldest  boy  says  we  must  see  it! 
For  the  littlest  ones,  Mickey  Mouse  and  Krazy 
Kat  are  the  whole  show.  And  when  I  get  in  my 
word,  it's  for  Walter  Huston  and  Leslie 
Howard. 

!    But  whatever  the  picture,  it  is  good  enter- 
tainment for  us. 

It  doesn't  end  when  the  show  is  over  either. 


Through  the  long  evenings  we  go  over  and  over 
it.  Why,  after  seeing  "State  Fair,"  I  actually 
had  to  be  Blue  Boy — grunting  around  on  all 
fours  and  even  eating  bran! 

^  es,  we  certainly  appreciate  the  movies! 
B.  J.  Anderson,  Fairview,  Montana 

THE  $5  LETTER 

One  rainy  night  recently  while  waiting  for  a 
bus,  I  heard  a  crowd  of  small  hoodlums,  plan- 
ning to  rob  a  fruit  store. 

A  middle  aged  man  standing  beside  me  also 
heard  the  conversation.  Stepping  up  to  the 
eldest  boy,  he  said:  "Son,  it's  been  impossible 
to  get  a  cab  tonight!  If  you'll  find  me  one  I'll 
treat  the  crowd  of  you  to  a  movie!  How's 
that?" 

For  a  moment,  they  stared  at  him  suspici- 
ously. Then  one  of  them  darted  off  to  hunt  for 
the  cab  while  the  others  told  the  man  that  the 
picture  they  wanted  to  see  was  being  shown 
just  down  the  street. 

Thus  a  certain  fruit  store  wasn't  robbed  that 
night  and  perhaps  the  juvenile  court  was 
spared  a  case. 

Those  little  Jesse  James  were  too  busy  see- 
ing, "Treasure  Island!" 

Ruth  King,  Cranford,  N.  J. 


This  picture  is  printed  as 
proof  that  comedian  Snub 
Pollard  is  still  very  much 
alive.  He  says  so  himself 
in  one  of  the  first  letters 
this  department  has  ever 
received  from  an  actor! 
Apologies,  Snub 


Has  Garbo  changed?  Some  of  our  readers  think  so.  It  is  certainly  a 
smiling  and  human  Garbo  you  see  above,  with  Herbert  Marshall  and 
Jean  Hersholt  in  a   scene   from  her  new  movie,    "The   Painted   Veil" 


After  seeing  her  in  "The  White 
Parade,"  many  readers  believe  Jane 
Darwell  is  the  person  who  will  now 
do  the  type  of  roles  the  beloved  Marie 
Dressier  once  filled.  Miss  Darwell 
is    shown    signing    a    Fox    contract 


Well,  all  of  you  went  very  se- 
rious on  us  this  month!  True, 
there  were  stacks  of  raves 
written  to  Robert  Donat,  and 
bouquets  to  Ginger  and  Fred 
Astaire.  Rut  otherwise — 
solemn  sermons  on  movies, 
long  lectures  on  what  pro- 
ducers should  do,  and  hun- 
dreds of  other  serious  theses. 
Somebody  please  tell  usa  joke ! 


11 


Brickbats  &  Bouquets 

WRITE    US   YOUR   CRITICISM 


o  •  •  • 


•  •  o  © 


CONTINUED  FROM  PAGE   11 


A  NEW  GRETA? 

Is  Garbo's  iciness  and  seclusion  going  to 
melt?  In  most  any  picture  nowadays  she  no 
longer  has  a  sad,  tragic  face.  I  think  she  looks 
better  smiling.  Here's  luck  to  the  changed 
Garbo. 

K.  C,  Scarsdale,  N.  Y. 

GLAD  YOU  ARE  ALIVE,  "SNUB" 

It  was  with  much  sorrow  that,  in  your  issue 
of  November,  1934,  I  read  of  the  sad  demise  of 
Snub  Pollard,  the  distinguished  veteran.  How 
much  of  a  shock  I  received  you  may  judge  for 
yourself  when  I  tell  you  that  I  knew  him  very 
well — in  fact,  all  my  life. 

You've  heard  of  the  "quick  and  the  dead?" 
Well,  this  poor  old  corpse  is  awful  quick  to 
assure  you  that  he  is  alive  and  very  much  kick- 
ing in  this  land  of  forgotten  men — Hollywood. 
Since  the  oft-repeated  news  of  his  decease,  he 
has  graced  with  his  presence  such  pictures  as 


"Stingaree,"  "The  Cockeyed  Cavaliers,"  and 
"One  More  River." 

The  Harry  Pollard  who  died  was  the  direc- 
tor. Yours  truly,  Harry  SNUB  Pollard,  the 
comedian,  is  still  doin'  nicely,  thank  you!  So 
here's  to  reading  about  him  in  the  next  edition 
of  your  very  popular  Photoplay  Magazine. 
"Snub"  Pollard 

THE  MOST  BELOVED 

Never,  have  I  approved  of  naming  successors 
to  departed  stars  but  since  the  passing  of 
Marie  Dressier,  there  has  been  an  empty  spot 
in  my  heart  that  has  forced  me  to  seek  some 
one  to  fill  it — if  possible. 

Last  night  I  saw  The  White  Parade.  As  this 
tremendous  drama  unfolded.  I  suddenly  real- 
ized that  an  actress  was  tugging  at  my  heart 
strings  as  only  Marie  had  done  before.  Yes  sir. 
there  she  was,  a  big  hearted  soul  shouting 
orders  like  a  general.  Hearty  laughter  in  one 
breath  was  drowned  with  tears  in  the  next. 


I  mean,  of  course  Jane  Darwell  the  slim  girl 
who  twenty  years  back  entertained  us  in  films, 
has  returned  with  her  comfortable  avoirdupois 
in  a  characterization  that  will  make  her  the 
most  woman  beloved  on  the  screen. 
Frances  Silvertson,  San  Francisco,  Calif. 

ROYALTY  IN  DANCING  SHOES 

My  hat  is  off  to  Fred  Astaire  and  Ginger 
Rogers  for  their  splendid  performance  in  "The 
Gay  Divorcee."  All  the  nation  must  hail  them 
as  the  King  and  Queen  of  the  Musical  World! 
And  the  picture  is  the  most  amusing  musical 
comedy  that  has  ever  been  produced.  It  not 
only  introduces  new  song  hits  but  starts  the 
nation  in  a  new  and  brilliant  dance.  The  Con- 
tinental. 

Ronald  C.  Baron,  Bakersfield,  Calif. 

DRY  YOUR  EYES 

I'm  asking  the  world  why  the  general  trend 
of  movie  productions  are  going  tragic?  For 
weeks  after  a  sudden  bereavement  in  our  fam- 
ily I  tried  to  find  a  picture  that  would  make  me 
forget  myself  and  smile  a  little. 

There's  enough  grim  reality  in  the  world 
without  rubbing  it  in  by  giving  a  teary  screen 
diet.  The  only  happy  note  I've  seen  and  heard 
lately  is  Grace  Moore's  "One  Night  of  Love" 
— a  beautiful  picture. 

I  hope  it  blasts  tragic  films  from  the  picture 
industry  and  blazes  the  way  for  a  new  version 

!  PLEASE  TURN  TO  PAGE  14  ] 


The  plea  for  some  good 
Westerns  is  being 
heeded  by  several  of  the 
major  studios.  Here  is 
a  scene  from  the  RKO- 
Radio  cowboy  thriller, 
"West  of  the  Pecos." 
Many  believe  that  cen- 
sorship and  the  desire 
for  simpler  pictures  will 
bring  the  Western  back 
into  favor 


Hold  on  a  minute,  you 
impatient  ones  who  are 
howling  for  another  pic- 
ture teaming  Loretta 
and  Ronald!  It's  on  the 
fire!  Miss  Young  and 
Mr.  Colman  will  greet 
you  next  in  the  20th 
Century  picture,  "Give 
of  India."  And  it  looks 
like  they're  taking  it 
seriously 


Some  movie-goers  have  been 
brick-batty  because  their  fa- 
vorites are  typed  in  roles  not 
like  their  personalities.  For  ex- 
ample, Miss  Farrell,  always  a 
gold-digger  on  the  screen,  is 
really  a  nice,  hard-working  girl 
at  home 


12 


Photoplay  Magazine   for   February,   1935 


■3 


Brief  Reviews  of 
Current  Pictures 


CONTINUED  FROM  PAGE   10 


I  GIVE  MY  LOVE— Universal.— Paul  Lukas. 
Vynne  Gibson,  Eric  Linden,  John  Darrow  all  do 
erve  better  than  this  familiar  story  of  the  mother 
•vho  makes  a  great  sacrifice  for  her  son.   (.-la   J 

I    SELL    ANYTHING  —  First  National.— Pat 

J'Brien  talks  you  to  death  as  a  gyp  aucti :er  who  is 

a  ken  by  a  society  golddigger  (Claire  Dodd).  Sadder 
nd  gabbier  he  returns  to  Ann  Dvorak.     Uan.) 

IT'S  A  BOY — Gainsborough. — In  this  British 
arce,  Edward  Everett  Horton  is  top-notch,  but  that 
sn't  quite  enough  to  carry  the  whole  picture.    (Sept.) 

JANE  EYRE — Monogram. — The  old  classic,  han- 
lled   with   taste,  but   slow   in   the  telling.     Virginia 
irery  beautiful,  and  Colin  dive  does  a  good 
cting  job.      (Sepl.) 

A.  JUDGE  PRIEST— Fox.— Will  Rogers  makes 
^  Irvin  S.  Cobb's  humorously  philosophical  char- 
ter live  so  enjoyable,  you  wish  you  were  a  part  of 
lie  drowsy  Kentucky  setting.     The  music  heightens 

our  desire.  Tom  Brown,  Anita  Louise  the  love  in- 
erest.    Perfect  cast.     (Dec.) 

KANSAS  CITY  PRINCESS,  THE— Warners  — 
omedy,   "so-called,"   about   two  manicurists   (Joan 
plondeil,    Glenda    Farrell)    out    to    do    some    gold- 
'ligging.     Not  for  children       (Nov.) 

KENTUCKY  KERNELS— RKO-Radio.—  Wheeler 
nd  Woolsey  as  custodians  of  a  young  heir,  Spanky 
vIcFarland,  mixed  up  with  a  Kentucky  feud,  moon- 
ihine  and  roses.     It's  hilarious.     (Jan.) 

KEY,  THE— Warners.— Melodrama  about  the 
finn  Feiners  warfare  with  English  troops  in  Dublin 
k  1920.  Colin  Clive,  William  Powell,  Edna  Best. 
'lot    weak    in    spots.      (Aug.) 

k  KID  MILLIONS— Samuel  Goldwyn-United 
^  Artists. — A  Cantor  extravaganza  complete 
.it.li  hilarious  situations,  gorgeous  settings,  catchy 
unes  and  a  grand  cast.     (Jan.) 

KISS  AND  MAKE-UP— Paramount.— Plenty  of 
iughs  while  Genevieve  Tobin  divorces  Edward 
verett  Horton  to  marry  beauty  specialist  Cary 
rant  who  really  loves  Helen  Mack.     (Aug.) 

^  LADIES  SHOULD  LISTEN— Paramount.— 
W     Delightfully  adult  society  comedy,  with  Cary 

rant  revealing  himself  as  a  farceur  of  distinction  in 
he    role    of    a    Parisian    bachelor.      Frances    Drake, 

dward  Everett  Horton  and  Nydia  Westman  all 
plendid.     (Oct.) 

,  LADY  BY  CHOICE— Columbia.— Fresh  and 
W  original,  with  a  new  situation  for  May  Robson. 
arole  Lombard,  fan  dancer,  "adopts"  May,  an 
repressible  alcoholic,  as  her  mother  for  a  publicity 
ag.    Roger  Pryor,  Walter  Connolly  important.  (Dec.) 

LADY  IS  WILLING,  THE— Columbia.— Leslie 
ioward  in  a  mild  little  English  farce.  Binnie  Barnes, 
\Tigel  Bruce.     (Nov.) 

>X,  LAST  GENTLEMAN,  THE— 20th  Century- 
W  United  Artists. — An  interesting  character 
ftudy  of  an  eccentric  old  man  (George  Arliss)  who 
ian't  decide  on  his  heir.  Real,  refreshing  and  enter- 
aining.     Splendid   support.      (Aug.) 

\  LAST  WILDERNESS,  THE— Jerry  Fairbanks 
['rod. — A  most  effective  wild  animal  life  picture, 
lasn't  bothered  with  the  sensational  and  melo- 
ramatic.  Howard  Hill  deadlv  with  bow  and  arrow. 
Dec.) 


LAUGHING    BOY— M-G-M.— Dull,    slow-mov- 
'ig  filmfare  about  Indian  boy  Ramon  Novarro's  love 

fr  Lupe  Yelez  who  knows  evil  ways  of  the  white 
ce.  Effective  photography.  (Aug.) 
LEMON  DROP  KID,  THE— Paramount— A 
.ace-track  tout  goes  straight  for  marriage  and  a  baby. 
lee  Tracy.  Helen  Mack.  William  Frawlev,  Babv 
LeRoy,  Minna  Gombell.  Henry  B.  Walthall.     (Dec.) 

X-  LET'S  TALK  IT  OVER— Universal  — 
^  Young  and  old  will  be  amused  by  the  trans- 
jrmation  of  sailor  Mike  McGann  (Chester  Morris). 
;dl  for  the  love  of  a  society  damsel  (Mae  Clarke). 
\Aug.) 

\  LET'S  TRY  AGAIN— RKO-Radio.— Slow-mov- 
ig  and  much  too  talkie  is  this  film  in  which  Diana 
\  jrnyard  and  Clive  Brouk  play  a  ten-years-married 
ouple  falling  out  of  love.     Helen  Vinson.     (Oct.) 

LIFE    OF    VERGIE    WINTERS,    THE— RKO- 

:tadio. — Louis  Bromfield's  story  of  a  lingering, 
licit  love  sacrificed  to  a  political  career  is  well  acted 
iy  Ann  Harding  and  John  Boles.  Supporting  cast 
frst-rate.     (Aug.) 

LIGHTNING  STRIKES  TWICE— RKO-Radio. 

-A  mystery  built  on  a  murder  that  didn't  happen, 
•on  Lyon  and   Skeets  Gallagher  are  amusing.     Pert 
^elton  is  a  fan  dancer.     Story  at  fault.     (Jan.) 
[  PLEASE  TURN  TO  PAGE  15  I 


Soli^l\ 


I 


lour: 

A  NEGLECTED  GIRL  3  MONTHS  AGO 


THREE  MONTHS  AGO    I 
COULD   ONLY    DREftM  ABOUT 
ROMANCE 


WHAT  Yeast  Foam  Tablets 
did  for  Sue,  they  should  do 
for  you.  A  muddy,  blotchy  or 
pimply  skin  results  from  a  dis- 
ordered condition  of  your  sys- 
tem— usually  constipation  or 
nervous  fatigue.  Both  of  these 
common  ailments  are  often 
caused  by  the  recently  recognized 
shortage  of  vitamins  B  and  G  in 
the  average  diet.  To  correct  this 
shortage,  you  need  a  food  super- 
rich  in  these  health-building  ele- 
ments. 

Yeast  Foam  Tablets  supply 
these  precious  substances  in 
great  abundance.  They  are  pure, 
pasteurized  yeast  —  and  pure 
yeast  is  the  richest  known  food 
source  of  vitamins  B  and  G. 
These  tablets  strengthen  the  di- 
gestive and  intestinal  organs, 
give  tone  and  vigor  to  your  ner- 


vous system.  With  the  true 
causes  of  your  trouble  corrected, 
you  enjoy  new  health  and  new 
beauty.  Eruptions  and  blemishes 
vanish.  Your  complexion  be- 
comes clear  and  glowing.  Your 
skin  is  the  envy  of  men  and 
women  everywhere. 

You  can  get  Yeast  Foam  Tab- 
lets at  any  druggist's.  The  ten- 
day  bottle  costs  50c — only  a  few 
cents  a  day.  Get  a  bottle  now. 
Then  watch  the  improvement  in 
the  way  you  look  and  feel! 
Northwestern  Yeast  Co.,  1750 
N.  Ashland  Ave.,  Chicago,  111. 


Brickbats  &  Bouquets 

HOLLYWOOD  WANTS  TO  KNOW 


•••• 


•••• 


CONTINUED  FROM  PA(.E   12 


nf  the  old  fashioned  picture — the  one  Sunday 
Afternoon  romance,  the  lazy  elm  shaded  main 
street  picture,  or  good  Westerns. 

Helen  C.  Wixlsey,  Boise,  Idaho 

RAHS  FOR  THE  TEAM 

Gentle  readers,  you  may  name  all  the  new 
screen  teams  you  want.  But  in  my  opinion, 
you  can't  top  one  that  is  already  in  existence — 
Loretta  Young  and  Ronald  Colman.  I  shall 
never  forget  their  work  in  "Bulldog  Drum- 
mond  Strikes  Back."  How  about  another  pic- 
ture teaming  them,  studios? 

A.  W.  Worth,  Denver,  Colo. 

EAVESDROPPER'S  THANKS 

I  thoroughly  enjoyed  eavesdropping  on  the 
most  intimate  secrets  of  the  most  fantastic 
lover  of  the  ages — "  Madame  Du  Barry." 

Thank  you,  Dolores,  for  giving  us  such  a 
human,  lovable  "Du  Barry,"   rather  than  a 
scheming  politician. 
Mrs.  Charles  Toles,  Colorado  Springs,  Colo. 

GIVE  MR.  COWBOY  A  CHANCE 

Why  is  it  that  the  best  talent,  the  big  names, 
and  unlimited  funds  are  showered  on  gangster, 
historical,  and  love  pictures,  but,  somehow,  the 
line  is  drawn  on  Westerns?  This  outright  dis- 
crimination against  Westerns  is  a  puzzle  to  me, 
and  it  is  to  blame  for  their  decrease  in  popu- 
larity. 


Elissa  Landi,  who  has  been  com- 
ing in  for  a  large  share  of  bou- 
quets recently,  is  a  fine  organist 
as  well  as  a  novelist  and  screen 
star.  In  her  new  home  this  pipe 
organ  has  been  installed 


Robert  Raynold's  prize-winning  novel 
"Brothers  in  the  West,"  for  example,  is  a  per 
feet  vehicle  for  a  nation-wide  box  office  attrac 
tion  if  well  produced  with  a  star  of  the  firs 
magnitude  in  the  lead  role. 
Raymond  Goldsmith,  Staten  Island,  N.  Y. 

SENTENCED  FOR  GOLD-DIGGING 

I'm  demanding  a  pardon  for  one  of  my  fav 
orites.  She's  been  sentenced  too  long  to  on< 
type  of  role.  I  mean  Glenda  Farrell  and  hei 
gold-digging  parts.  She's  a  fine  woman,  and  ir 
her  real  life  she  is  an  intelligent  person  of  gen 
erous  impulses,  warmth  and  understanding. 

I  would  like  to  see  her  cast  as  a  young 
mother,  for  example.  Anyhow  in  some  role  thai 
would  permit  her  own  personality  to  shin* 
through. 

J.  B.  Dean,  Kansas  City.  Mo. 

SMALL  TOWN  SLICKER 

A  few  weeks  ago  I  had  the  opportunity  ol 
visiting  friends  in  New  York  City.  Coming 
from  this  small  town  in  Ohio  I  was  considerec 
from  the  sticks.  But  when  we  started  on  my 
sight  seeing  tour — Every  time  they  pointed  oul 
a  place  I  could  truthfully  say  "  Oh,  yes!  I  haw 
seen  that  before."  When  they  would  ask  vat 
just  when  I  had  seen  it,  I  would  reply,  "Or, 
the  screen,"  recently. 

Yes,  you  have  brought  Broadway  to  the 
small  cities!  But  please  have  your  camera 
come  out  in  these  here  parts  and  take  a  few. 
pictures  for  my  friends  back  East.  It's  the  only, 
way  they  will  ever  be  able  to  break  even  with 
me. 

Wayne  Milton  Weber,  Galion,  Ohio 

HERE  COMES  A  MARINE 

This  is  a  voice  from  the  Service.  We  Marines 
see  more  country  than  most  civilians  will  ever 
see,  and  w:e  have  experiences  that  civilians  can 
only  read  about. 

[  please  turn  to  page  16  1 


Oh,  no!     All  the  baby  medals  aren't  going  to  little 

Shirley  Temple  and  Baby  LeRoy!     Dickie  Moore  has 

been  pedalling  right  along  for  his  share  of  moviedom's 

interest  in  children  stars 

n 


And   Spanky  McFarland  is  riding  right  up  into  film 

fame,  too.     Known  since  "didey  days"  for  his  work 

in    "Our    Gang"    comedies,    Spanky    recently    came 

through  featured  in  "Kentucky  Kernels" 


Photoplay  Magazine  for  February,   1935 


■5 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED  FROM  PAGE   13 


LIMEHOl'SE  BLUES— Paramount.— Gruesome 
lor  the  kids,  old  stuff  for  the  adults.  Lurking  Chinese, 
thugs,  dope,  Scotland  Yard.  George  Raft,  Jean 
Parker,  Kent  Taylor,  Anna  May  Wong.     (Jan.) 

LITTLE  FRIEND— Gaumont- British. —The 
tragic  story  of  a  child  victim  of  divorce.  Outstanding 
is  the  performance  of  Nova  Pilbeam,  British  child 
actress.     Worthwhile.     {Jan.i 

•     LITTLE  MAN,  WHAT  NOW?— Universal- 
Touching  .mil  very  real  is  this  story  of  a  young 
couple's   struggle    with   life.      Margaret   Sullavan    is 
superb,   and    Douglass   Montgomery's   role   tits   him 
ove.     (Aug.) 

LOST  IN  THE  STRATOSPHERE— Monogram. 

— Eddie  Nugent,  William  Cagney,  differ  over  June 
Collyer.  Enemies,  they  are  up  in  the  air  fourteen 
miles  and  the  balloon  goes  haywire.  For  the  young- 
sters.    {Jan.) 

LOST  JUNGLE,  THE— Mascot.— Clyde  Beatty 
gives  an  exciting  performance  with  both  lions  and 
tigers  in  the  big  cage.  And  his  South  Sea  Isle  ex- 
periences add  to  thrills.      (Sept.) 

LOST  LADY,  A— First  National.— Willa  Cather's 
novel,  considerably  revamped.  Barbara  Stanwyck 
nne  in  title  role;  Frank  Morgan  and  Ricardo  Cortez 
satisfactory.     (Nov.) 

|  LOUISIANA— Robert  Mintz  Prod.— Some  of  the 
scenes  in  this  odd  film  about  a  group  of  Negroes  torn 
between  their  pastor's  teaching  and  Voodooism  are 
really  fascinating.  Beautiful  voices  are  heard  in 
.spirituals.      (Sept.) 

LOVE  CAPTIVE,  THE— Universal.— A  confused 
over  use  of  hypnotism  in  certain  illnesses.    Nils 
Asther,  Gloria  Stuart  and  supporting  cast  fine,  but 
toryisweak.     (Aug.) 


LOVE    TIME— Fox.— The     struggles    of     Franz 

hubert  (Nils  Asther);  his  love  for  a  princess  (Pat 

Paterson);  her  father's  (Henry  B.  Walthall)  efforts  to 

separate  them.     Lovely  scenes,  lovely  music.     (Dec.) 


LOYALTIES— Harold  Auten  Prod.— An  over- 
played adaptation  of  John  Galsworthy's  play  based 
bn  an  attempt  to  degrade  a  wealthy  Jew,  with  the 
|Iew  victorious.      Basil  Rathbone  the  Jew.      (Jan.) 

MADAME  DU  BARRY— Warners— An  elabo 
ate  and  diverting  presentation  of  Madame  Du- 
"..irry's    (Dolores    Del    Rio)    pranks   in   the   French 

nurt.  King  Louis  XV  is  brilliantly  portrayed  by 
Reginald  Owen.      (Aug.) 

MAN  FROM  UTAH,  THE— Monogram.— Thrill- 
ng  rodeo  shots  speed  up  this  Western  in  which 
fohn  Wayne  exposes  the  racketeers.  Polly  Ann 
iv'oung  is  the  feminine  interest.      (Aug.) 

MAN  OF  ARAN — Gaumont-British. — A  pictorial 
aga  of  the  lives  of  the  fisher  folk  on  the  barren  isles  of 
Aran  off  the  Irish  coast.     (Jan.) 

MAN  WITH  TWO  FACES,  THE— First  Nation 
il. — Clear  cut  character  drawing,  intelligent  direction 
md  Edward  G.  Robinson  make  tliis  a  decidedly  good 
how.  Mary  Astor.  Ricardo  Cortez,  Louis  Calhern 
Aug.) 

MENACE — Paramount. — Mystery.  Starts  weak, 
>ut  picks  up,  and  you'll  be  well  mystified.  A  mad, 
nan  threatens  Gertrude  Michael,  Paul  Cavanagh- 
nd  Berton  Churchill  whom  lie  blames  for  his 
Irother's  suicide.     (Dec.) 

MERRY  FRINKS,  THE— First  National.— Aline 
MacMahon,  Hugh  Herbert,  Allen  Jenkins,  Frankie 
Jarro,  Joan  Wheeler  and  Guy  Kibbee  are  all  valuable 
1  making  up  a  comedy  well  worth  your  time.  (Aug  ) 

JL,  MERRY  WIDOW,  THE— M-G-M.— Oper- 
^  etta  striking  a  new  high  in  lavish  magnificence, 
eanette  MacDonald  and  Maurice  Chevalier  rate 
onors  for  their  performances.     (Nov.) 

MERRY  WIVES  OF  RENO— Warners.— This 
■eble  and  unamusing  tale  is  too  much  even  for  the 
apable  cast,  including  Margaret  Lindsay,  Donald 
Aoods,   Ruth    Donnelly,   Guy    Kibbee.      (Aug.) 

MIDNIGHT  ALIBI— First  National.— As  the 
mg  leader  who  loves  the  sister  (Ann  Dvorak)  of  a 
val  gangster,  Richard  Barthelmess,  comes  through 
p  fine  style.     New  plot  twist.      (Aug.) 

MILLION  DOLLAR  RANSOM— Universal— In 
,ie  role  of  a  former  liquor  baron  trying  to  go  straight, 
dward  Arnold  is  superb.  Phillips  Holmes  and 
Iary  Carlisle  do  nice  work,  too.     (Oct.) 

MONEY  MEANS  NOTHING— Monogram.— A 
w  dull  spots,  but  on  the  whole  this  yarn  about  the 
npping  clerk  (Wally  Ford),  who  marries  the 
ealthy  girl  (Gloria  Shea)  is  amusing       (Aug.) 


MOONSTONE,  THE  —  Monogram.  —  David 
Manners  and  Phyllis  Barry  do  a  good  acting  job  in 
spite  of  poor  direction  and  a  loose  screen  play.    (Oct.) 

MOST  PRECIOUS  THING  IN  LIFE— Colum- 
bia.— Jean  Arthur's  superb  performance  is  wasted 
in  this  familiar  tale  of  the  mother  who  turns  up  in 
the  son's  (Richard  Cromwell)  later  life  as  the  "biddy' 
in  his  college  dormitory       (Aug.) 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH- 

Paramount. — Interesting  adaptation,  with  Pauline 
Lord,  ZaSu  Pitts,  W.  C  Fields  and  a  host  of  othe; 
fine  players.     (Nov.) 

•  MURDER  AT  THE  VANITIES— Para 
mount. — Two  backstage  murders  make  the 
opening  night  of  Earl  Carroll's  show  a  memorable 
one.  Carl  Brisson,  Kitty  Carlisle  and  a  host  of  well 
known   players   in    support.      (Aug.) 

MURDER  IN  THE  PRIVATE  CAR— M-G-M.— 

A  riot  of  thrills  and  nonsense  cover  up  weak  spots  in 
plot.  Mary  Carlisle,  Una  Merkel,  Charles  Ruggles 
Russell  Hardie  all  well  cast      (Sept.) 

MURDER  IN  TRINIDAD— Fox— While  Nige 
Bruce  investigates  smuggling  of  diamonds  out  of 
Trinidad,  two  men  are  killed.  Exciting  melodrama 
Victor  Jory.  Heather  Angel       (Aug.) 

MURDER    ON    THE    BLACKBOARD— RKO 

Radio. — Plenty  of  action,  suspense  and  chills,  with 
Edna  May  Oliver  superb  in  a  humorous  Philo 
Vance  role.  Jimmy  Gleason  and  Regis  Toomey 
(Aug.) 

•  MUSIC  IN  THE  AIR— Fox— Gloria  Swanson 
returns  in  this  charming  musical  as  a  tempestu- 
ous opera  star  in  love  with  her  leading  man,  John 
Boles.    Gay  and  tuneful.     (Jan.) 

MYSTIC  HOUR,  THE— Progressive.— Crooked- 
est  crooks,  fightingest  fights,  tag  with  fast  trains, 
middle-aged  hero,  dastardly  villain,  his  bee-ootiful 
ward.  But  no  custard  pies.  Montagu  Love,  Charles 
Hutchison,  Lucille  Powers.     (Dec.) 

NELL  GWYN— British  &  Dominion-United 
Artists. — Sir  Cedric  Hardwicke  and  Anna  Neagle 
in  a  weak  screen  story  on  the  life  of  the  lowly  actress 
who  became  a  favorite  of  King  Charles  II      (Oct.) 

NORAH  O'NEALE— Clifton-Hurst  Prod.— Dub- 
lin's Abbey  Players,  famous  on  the  stage,  fail  in  their 
first  movie.  Lacks  their  spontaneity  and  charm  on 
the  stage.     (J.i  n.) 

NOTORIOUS   SOPHIE   LANG,   THE   —   Par 

amount. — Comedy-melodrama  with  Gertrude  Michael 
and  Paul  Cavanagh  as  crooks  vying  for  first  place 
in  their  profession.     Alison  Skipworth.     (Sept.) 

•  NOW  AND  FOREVER— Paramount —Baby 
Shirley  Temple  scores  again  as  vagabond 
adventurer  Gary  Cooper's  motherless  tot.  Carole 
Lombard  is  Gary's  beautiful  love.  Principals  and 
support  A-l.      (Oct.) 

•  OF  HUMAN  BONDAGE  —  RKO-Radio.  — 
Deft  adaptation  of  Somerset  Maugham's  novel 
about  a  cripple  (Leslie  Howard)  hopelessly  in  love 
with  a  vicious  woman  (Bette  Davis).  Expert  char- 
acterizations by  principals,  Frances  Dee,  Reginald 
Owen  and  Alan  Hale.     (Sept.) 

•  OLD-FASHIONED  WAY,  THE  —  Par 
amount.  —  Paralyzing  gags,  situations  and 
lines  in  this  Gay  Nineties  story  featuring  W.  C.  Fields, 
Baby  LeRoy,  Judith  Allen,  Joe  Morrison  and  revival 
cast  of  stage  play   "The  Drunkard."      (Sept.) 

ONCE   TO    EVERY    BACHELOR— Liberty.— A 

veteran  comedy-drama  plot,  but  the  cast  gives  it  life 
and  sparkle.  Marian  Nixon,  Neil  Hamilton  and 
Aileen  Pringle       (.1«;;  I 

ONE  EXCITING  ADVENTURE— Universal.— 
Striving  for  suavity  robs  story  of  much  charm.  Neil 
Hamilton  reforms  Binnie  Barnes,  who  picks  up 
diamonds  hither  and  thither.  Has  laughs,  and  Paul 
Cavanagh,  Eugene  Pallette,  Grant  Mitchell.     (Dec.) 

ONE  MORE  RIVER— Universal.— Americans 
will  find  this  account  of  Diana  Wynyard's  affair  witli 
Frank  Lawton,  resulting  in  a  divorce  from  her  cruel 
husband,  a  trifle  ponderous.     (Oct.) 

•  ONE  NIGHT  OF  LOVE— Columbia.— An 
unusual  musical  romance.  With  your  eyes 
open  or  closed,  it's  an  evening  for  the  gods.  Grace 
Moore's  voice  is  glorious.  Lyle  Talbot  and  Tullio 
Carminatti.      (Aug.) 

•     OPERATOR    1.?— M-G-M— Marion    Davie* 
does   fine    work    as    a    spy    in    this    Southern 
extravaganza   with    Civil    War    background.      Gary 
Cooper  is  a  spy  for  the  opposite  side.      (Aug.) 
(  PLEASE  TURN  TO  PAGE  122  ) 


I  WAS  SLUGGISH 
AND  A  MARTYR 
TO  BILIOUSNESS 


•  My  skin  was  pasty  and  even  after  8 
hours  sleep  I'd  get  up  tired.  I  looked  every 
day  of  my  35  years  and  then  some.  For 
6  years  I'd  been  a  continuous  sufferer 
from  biliousness,  sour  stomach  caused  by 
constipation.  I  think  I  spent  hundreds  of 
dollars  on  medicines.  Then  the  wife  of  our 
druggist  told  me  about  FEEN-A-MINT. 
It  is  the  only  laxative  I  have  used  for 
2  years  and  it  has  worked  marvels.  My 
husband  says  I'm  like  a  different  per- 
son. FEEN-A-MINT  has  done  wonders 
for  my  little  girl,  too  — now  she  eats  like 
a  child  should  because  it  keeps  her  regu- 
lar as  a  clock. 

Pleasing  taste  makes  FEEN-A-MINT 
easy  to  take 

Another  experience  typical  of  the  hundreds  of 
people  who  write  us  gratefully  about  the  relief 
FEEN-A-MINT  has  given  them.  FEEN-A- 
MINT  is  not  only  positive  in  its  purpose  but  a 
pleasing  and  delicious  chewing  gum. That  is  why 
it's  so  easy  to  take— children  love  it.  And  because 
you  chew  it  the  laxative  works  more  evenly 
through  the  system  and  gives  more  thorough 
relief  without  griping  or  binding.  Next  time  you 
need  a  laxative  get  FEEN-A-MINT.  15  and  25f» 
at  your  druggist's.  Used  by  over  15. 000,000  people. 


ArAD 


fe£*» 


1HOR' 


ough- 


CHEW  Jty,/'1 

iAX/ir/„/ 

FEEN^MlNT 

THE   CHEWING-GUM    LAXATIVE 


__ 


Brickbats  &  Bouquets 

••••THE  VERDICT  OF  THE   PUBLIC 


•  •  •  • 


I  CONTINUED  FROM   PAGE   14  | 


Vet,  when  the  bugle  call  sounds,  meaning 
movies  are  ready  to  start  on  the  quarter  deck, 
there's  a  mad  scramble  of  men,  carrying 
benches,  stools,  and  chairs,  to  sit  on. 

And  it  would  be  hard  to  find  a  brickbat 
thrower  in  the  whole  crowd — for  we've  been 
"at  sea"  for  many  weeks,  perhaps,  with  never 
a  glimpse  of  a  member  of  the  opposite  sex  or 
anything  resembling  home  life.  It's  a  real 
treat  to  see  it  on  the  screen. 

George  M.  Jones,  U.  S.  S.  Arizona 
San  Pedro,  Cal. 

BABY  STAR-GAZER 

At  the  age  of  eighteen  days  our  little  daughter 
saw  her  first  movie.  The  spectators  who  chanced 
to  see  her  being  dragged  that  late  in  the  evening 
to  a  movie,  probably  critized  her  parents. 

She  is  now  twenty-two  months  old.  And  the 
movie  habit  has  not  made  her  a  nervous  child. 
It  probably  is  partially  responsible  for  the  fact 


Sorry,  you  two  hundred 
per  cent  Americans,  but 
few  native  stars  have  re- 
ceived as  many  bouquets 
as  the  English  Robert 
Donat.  His  fine  work  in 
"The  Count  of  Monte 
Cristo"  lured  ladies  to 
write 


that  this  youngster  is  at  much  at  home  in  a 
strange  hotel  suite  or  in  a  pullman  car  as  she  is 
in  her  own  little  nursery. 
.Mrs.  Thomas  B.  Conley,  Memphis,  Tenn. 

WE  HEARD  YOU! 

There's  been  so  much  shouting  about  Raby 
LeRoy  and  Shirley  Temple,  I'm  afraid  my 
lusty  yells  for  Spanky  McFarland  and  little 
Dickie  Moore  can't  be  heard!  But  I'm  holler- 
ing louder  and  longer — Spanky's  been  a  screen 
veteran  since  didey  days  and  Dickie  is  as 
clever  a  youngster  as  ever  faced  a  camera. 
Praise  for  both  of  them — by  loud  speaker. 
J.  Arnold,  Springfield,  111. 

SWEET  TWOSOME 

I  would  like  to  see  whom  I  consider  the 
sweetest  couple  on  the  screen  in  a  few  pictures 
that  are  not  sad. 

Helen  Mack  and  Lee  Tracy. 

D.  Stanton,  Oneida,  X.  Y. 

REFORM  OF  THE  WEST 

In  days  of  old 

When  knights  were  bold, 

And  damsels  were  so  shy, 

The  knights  were  prone 

To  roam  from  home 

And  leave  the  maids  to  cry. 

But  since  Mae  West 

Has  done  her  best 

To  teach  them  how  to  win, 

With  use  of  wiles 

And  shrewd  beguiles, 

They  always  get  their  men. 

Marvin  Moor,  Fort  Worth,  Texas 

FIVE  YEARS  LATER 

Recently  a  number  of  my  friends  were  dis- 
cussing photoplays  we  had  seen  during  the  past 
five  or  six  years. 

Realism  came  and  went,  so  did  musicals. 
Then  "  Nothing  but  the  Truth"  with  Richard 
Dix  came  into  the  conversation  and  lingered  on. 

Everyone  remembered  it.  And  I  consider  it  a 
high  compliment  to  Dix  that  all  of  us  recol- 
lected, in  detail,  his  superb  performance — after 
five  years!  A  splendid  actor,  Richard  Dix.  We 
don't  get  half  enough  of  him! 

James  C.  Grieve,  Jr. 


So  you  think  men  stars 
always  look  the  same? 
Franchot  Tone  and  Mr. 
Gary  Cooper  decided  to 
change  your  minds.  And 
you'd  hardly  know  'em! 
They  are  all  wrapped  up 
for  their  roles  in  "Lives 
of  a  Bengal  Lancer,"  for 
Paramount.  Aren't  they 
handsome  sheiks? 


Happy  family.  And, 
happy  birthday.  It  was 
Mrs.  Brown's  birthday  so 
Joe  E.  and  Joe  E.  Junior 
gave  her  a  big  party  at  the 
Cocoanut  Grove.  Cake 
and  all!  No  wonder  Joe 
knows  how  to  make 
movies  that  are  fit  for  the 
whole  family.  The  grown- 
ups like  him,  too 


10 


Photoplay  Magazine  for  February,   1935 


'7 


WOMEN  LIKE 'EM  THAT  WAY 


It  seems  to  me  women  of  the  screen  change 
cir  looks  and  their  personalities  with  their 

But  the  men,  always  look  the  same. 
Cooper  is  always   Gary,    Franchot   always 
me,  Herbert  is  Marshall   in  every   role  he 
.iys_etc.    Is  it  because  the  women  stars  are 
perior  as  artists?   P.S.    I'm  not  a  woman. 
J.  P.  Hertz,  Chicago,  111. 

BRITISH  GENIUS 

Does  Hollywood  appreciate  the  genius  of 
iberl  Donat?  He  has  an  individuality,  a 
arm  and  culture  not  found  in  most  of  our 
tors.  I  shall  never  forget  his  acting  in  "The 
hunt  of  Monte  Cristo."  The  courtroom  scene 
is  especially  superb. 

NrNA  White,  Louisville,  Ky. 

MOTHERS'  HELPERS 

A  mother  of  four  children  has  so  many,  many 
ings  to  take  up  her  time,  it  is  really  almost 
possible  to  check  up  on  the  movies  day  by 
Jy.  And  yet  I  know  that  mother  should  be  the 
ihsor.  I'm  always  grateful  when  Bobby  or 
rlen,  dashing  in  to  see  if  they  can  go  to  a 
{)vie,  say,  "It's  Joe  E.  Brown."  Or  "It's  Will 
Jigers."  Then  I  can  send  them  packing  off 
4h  no  time-taking  investigation,  no  worries, 
cause  I  know  it's  a  clean  picture  and  one 
i  v  will  enjoy. 

Mrs.  E.  T.  Wright,  Brooklyn,  N.  V. 

MOVIE  HUNGER 

Someone  said  that  in  order  to  appreciate  a 
tng,  you  must  do  without  it  for  a  while. 
Since  joining  the  CCC,  I  have  discovered 
is  is  true.  Our  particular  Camp  happens  to 
1; situated  twenty-five  miles  from  the  nearest 
r>vie  house,  and  it  is  not  often  that  we  see  a 
pture.  When  we  do,  however,  we  appreciate 
i'thoroughly. 

Now  I  know  what  a  void  there  would  be  in 
ci-  lives  without  them. 

Lee  De  Blanc,  Creston,  La. 

PAPA   KNOWS  BEST 

\s  an  economy,  when  times  got  bad,  my 
(rents  limited  us  children  to  four  movies  a 
yir.  Can  you  imagine  a  set  of  movie  fans 
1  ng  permitted  just  one  picture  in  every  three 
rnths? 

ifhat,  however,  was  all  B.  C.  (Before  Cats- 
I a.)  I  chose  the  Lloyd  film  for  my  once-in- 
tee-months  picture.  I  was  so  enthusiastic 
ajut  it  that  my  parents  decided  to  throw  dis- 
ction  to  the  winds,  and  take  the  whole 
)  lily. 

Vhen  the  picture  was  over  my  father  said, 
"hat  movie  took  ten  years  off  my  life!  From 
I?  on  our  budget  must  include  plenty  of 
imes.  For  there  can  be  no  depression  when 
aaod  show  is  in  town." 

R.  R.,  Cottage  Grove,  Oregon 

MUSICAL  ALBUM 


'.ach  musical  picture  I  see  leaves  me  with 
wish  to  see  and  hear  again  certain  of  the 
g  and  dance  numbers.  Why  don't  each  of 
studios  make  a  picture  composed  of  the 
ice  song  numbers  in  their  past  musical 
ures?  What  movie  fan  wouldn't  enjoy 
ring,  again,  John  Boles  sing  "  Waitin'  at  the 
e  for  Katy"  in  "Bottoms  Up."  Or  who 
ldn't  like  to  see  again  the  Carioca  scene 
n  "Flying  Down  to  Rio?" 
Mrs.  Clyde  Shaffer,  Santa  Rosa,  Cal. 


*AT4I 


Mi 


ff       ON  MY  SKIN 

writes  Mrs.  C.  M.  A.  of  N.  H. 


YOU  LOOK 
BEAUTIFUL. 
CATHERINE 


"  'Catherine,  'one  of  the  young  men  said  to  me,  'what  keeps  your  skin  so  young  and  beautiful?'  " 


"I  had  used  one  special  cream  for  over  14  years.  A  nd  yet  when  /  first  started  with  Junis  Cream 
the  tissues  I  used  looked  terribly  soiled.  My  skin  certainly  needed  the  cleansing  effect  of  Junis.  " 


WHAT 

LOVELY 

SKIN/ 


"I  am  forty-one  years  of  age,  and  after  using  Junis  for  only  a  few  weeks,  I  got  compliments  on  my 
young-looking  face  from  women  around  twenty.  I  know  that  Junis  is  going  to  keep  my  skin  that  way.  ' ' 


WOMEN  who  have  used  this  new  face 
cream  are  reporting  remarkable  re- 
sults. Some  say  their  complexions  are 
smoother,  fresher  than  ever  before.  Women 
over  30,  especially,  report  a  new  glowing, 
healthy  skin  they  had  never  hoped  to  see 
again. 

This  enthusiasm  is  not  surprising,  for  the 
new  Junis  Cream  is  entirely  unlike  all  other 
creams  . . .  because  it  is  based  on  a  principle 
that  is  natural  and  at  the  same  time  scientific. 

A  cleansing  cream  with  Nature's 
own  softening  element 

For  years,  you  see,  scientists  have  been  try- 
ing to  solve  the  problem  of  why  skin  be- 
comes older-looking.  They  have  uncovered 
many  surprising  facts.  One  important  rev- 
elation is  that  all  young  skin  is  rich  in  a 
certain  natural  substance  .  .  .  that  helps  to 
give  smoothnessand  freshness.  As  skin  grows 


older,  this  precious  substance  decreases. 

But  now, for  the  first  time,  a  way  has  been 
found  to  put  this  rare  substance  into  a 
cleansing  cream  .  .  .  into  Junis  Cream  .  .  . 
thus  enabling  women  to  apply  to  skin  the 
freshening,  softening  element  so  vitally 
needed.  This  substance,  as  contained  in 
Junis  Cream,  we  call  Sebisol.  When  applied 
externally,  this  natural  substance  again 
softens  and  lubricates  the  skin. 

We  invite  you  to  use  Junis  Cream  regu- 
larly, as  an  all-purpose  cosmetic.  Then 
watch  results.  You  need  no  other.  For  Junis 
Cream  cleans  perfectly,  gently.  In  addition, 
it  contains  Sebisol  ...  to 
soften,  lubricate,  beautify. 
See  what  this  new  kind  of 
cream  can  do  for  your 
skin.  Junis  Cream  is  on 
sale  at  all  toilet  goods 
counters. 


JUNIS     CREAM     IS     A    PEPSODENT     PRODUCT 


i8 


Photoplay  Magazine  lor  February,  1935 


The  Arabian  Nights 

BEAITIFUL       D  E       LUXE       EDITION 


For  Lovers  of  the 
Rare  and  Exotie 

Original 

Lane  Translation 

1260  Pages 

PHICED  AT  OXLY 

$2.98 


w» 


Sb.ibr.izad.  the  beautiful  si. ire  and  her  master,  King  Shahriyar. 


HAT  lover  of  rare,  beautiful  and  exotic  books  has  not  longed  to  own 
The  Arabian  Nights  as  translated  from  the  Arabic  by  Edward  William  Lane? 

Who,  having  read  them,  can  ever  forget 
these    astonishing    stories    of    lion-hearted 

heroes  and  their  madly  loved  ladies?  Of 
silken-clad  beauties  who  turn  from  the 
murmuring  of  amorous  verses  to  the  devis- 
ing of  diabolical  tortures  for  erring  lovers! 
Where  but  in  the  Orient  could  love  blos- 
som so  tenderly  or  distil  so  maddening  a 
perfume?  Only  the  passion  and  imagina 
non  of  the  Oriental  could  conjure  up  these 
stories  of  love  and  hate,  poison  and  steel, 
intrigue,  treachery  and  black  magic. 

For  many  years  after  Edward  William 
Lane  completed  his  famous  translation 
from  the  original  Arabic  that  placed  the 
Arabian  Nights  among  the  great  literary 
achievements  of  all  time,  it  was  published 
as  an  elaborate  set  of  volumes,  priced  at 
S60.00  and  upward.  Thousands  of  institu- 
tions, collectors  and  individuals  of  afflu- 
ence purchased  it,  but  at  that  price  it  was 
out  of  the  reach   of   uncounted   thousands 


who  had  heard  of  its  magnificence  and 
u  ho  wished  ardently  to  read  it.  It  was  not, 
however,  until  comparatively  recently  that 
an  enterprising  publisher  succeeded  in  se- 
curing the  necessary  rights  to  enable  him 
to  publish  the  entire  contents  of  the  origi- 
nal set  in  one  great,  magnificent  volume — 
and  what  a  volume  it  is!  How  widely. 
wonderfully,  gloriously  different  from  the 
simple  children's  volume  which  so  long 
passed  current  as  The  Arabian  Nights. 

It  is  printed  on  fine  quality  paper  in 
beautifully  clear  type,  luxuriously  cloth 
bound  in  black  and  red  and  gold — 124 
Oriental  tales,  1260  pages,  rich  in  the  lure 
and  thrill,  fire  and  passion  of  the  mysteri- 
ous East.  Complete,  with  a  wealth  of 
translator's  notes  on  Oriental  life,  customs, 
magic  and  other  alluring  subjects,  the 
Economy  Educational  League  has  been  ex- 
tremely fortunate  in  securing  a  limited 
number  of  copies  upon  a  basis  which  per- 


mits us  to  offer  it  to  our  customers  at  the  amaz 
ingly  low  price  of  $2.98,  postpaid — a  credit  to  an) 
collection  of  beautiful  and  exotic  books.  Ordei 
today  before  the  supply  is  exhausted.  You  risl 
nothing  for  if  this  great  volume,  which  weigh: 
over  three  pounds,  fails  to  come  fully  up  to  youi 
expectations,  you  can  return  it  for  immediate  re 
fund  of  your  money. 

Send  coupon  today  with  $2.98.  Money  back  i 
not  satisfactory.  When  ordering  request  catalog 
of  other  exceptional  book  bargains. 


E  C  O  A  O  H  Y 

EDUCATIONAL      LEAGUE 

1020  Broadway.  »w  York.  >T.  Y. 


ECONOMY  EDUCATIONAL  LEAGUE 
1926  Broadway,  New  York,  N.  Y.  Dept.  P2 
I  enclose  &2.98  for  which  please  send  me  the 
original  Lane  translation  of  THE  ARABIAN 
NIGHTS  beautifully  cloth  bound.  I  under- 
stand that  my  money  will  be  refunded,  provided 
the  book  does  not  prove  satisfactory. 

Name     

Address    

City    State 


IN  each  of  her  movie  roles  Katharine  Hepburn  has  portrayed 
a  different  type  of  person — from  sophisticated  lady  to  the 
lovable  Jo.    Now  as  Babbie  in  "The  Little  Minister,"  she 


reveals  a  quiet  dignity  and  grace  which  lends  her  latest  role  a 
new  kind  of  Hepburn  charm.  John  Beal  plays  opposite  her  in 
the  screen  version  of  Sir  James  Barrie's  famous  love  story 


Eugene  Robert  Richee 


ALWAYS  fascinating,  Carole  Lombard  has  never  looked 
more  intriguing  in  a  portrait  than  in  this  one.    But  you 
can  practice  for  months  before  a  mirror,  ladies,  and  never 


achieve  that  comchither  look  of  Lombard's!  For  it's  the 
contrast  of  languid  eyes  and  radiant  blonde  beauty  that  does 
it.     Carole's   latest   picture   is  "Rhumba"   for   Paramount 


Clarence  Sinclair  Bull 


B 


ARBARA  KENT'S  ambition  to  become  a  movie  star  was 
-'-'suddenly  interrupted  three  years  ago  when  she  married 
her  press  agent,  Harry  Edington,  and  decided  her  home  was 


more  important  than  a  career.  Now,  after  three  years  of 
smooth  sailing  on  the  matrimonial  seas,  Barbara  believes  she 
can  manage  both.     She  recently  signed  an  M'G-M  contract 


TX  7HAT  the  well-dressed  lady  will  wear — model  by  Miss 

»  »    Temple,    borrowed    from    her    mother's    wardrobe. 

Shirley  was  eager  to  show  folks  the  newest  addition  to  the 


family,  too.  The  child,  she  says,  will  in  no  way  interfere  with 
her  career.  And  her  career  is  doing  nicely,  thank  you.  She 
crashed  to  stardom  in  her  latest  film  success,  "Bright  Eyes" 


By 
Kathryn  Dougherty 


I  OFTEN  wonder  at  the  patience  of  the  motion  picture  industry.    Here 
are  hundreds  of  millions  of  dollars  invested,  thousands  of  persons  employed, 
half  the  population  of  the  nation  entertained — and  yet  any  player,  any  film, 
is  at  the  mercy  of  anyone  who  can  get  his  words  into  print. 

There  are  many  professional  critics  whose  judgment  is  sound  and  whose  verdicts 
are  just.  But  there  are  also  a  number  of  others  who  write  best  when  they  are 
panning  someone  or  something,  and  who,  thereby,  wise-crack  their  way  to  a 
certain  kind  of  fame.  Such  critics  are  dangerous.  They  may  amuse  but  they 
don't  help  the  public  in  choosing  pictures,  and  they  damage  the  industry.  And 
when  they  do  that  they  strike  at  the  public's  greatest  recreation.  It  is  bad  all 
around. 


LET'S  see  how  this  kind  of  criticism  would  operate  with  a  merchandise  type 
of  business — a  style  show,  for  instance.  The  morning  after  the  opening,  the 
promoters  might  read  in  their  (erstwhile)  favorite  newspaper: 

"La  Petite  Paree  style  show  opened  last  night  with  the  customary  music,  the 
customary  lights  and  the  customary  mannequins  wearing  not  unusual  gowns — 
one  of  those  things  the  public  is  a  little  fed  up  on. 

"The  models  were  none  too  graceful  and  the  tripping  down  the  stairs  was  startlingly 
realistic.     But  the  two  girls  who  fell  quickly  regained  their  feet. 

"Strangely  enough,  the  audience  of  fashionably  gowned  women  seemed  to  like 
the  show.     But  my  recommendation  is:  stay  home  with  the  radio." 


WOW!     How  would  the  gentleman  putting  on  the  style  show  like  that? 
And  wouldn't  there  be  an  uproar?     The  parallel  of  this  to  some  of  the 
criticisms  of  films  needs  no  elaboration. 

If  Bates,  the  popular  grocer,  found  himself  living  in  a  movie  player's  gold- 
fish bowl — with  the  top  off,  at  that — he'd  be  walking  out  of  court  some  day  a  free 
man,  acquitted  by  a  jury  with  the  verdict  "Justifiable  homicide." 

HOLLYWOOD  New  Deal  note:     Posted  about  on  the  walls  of  the  Central 
Casting  Bureau   is   a  recent  bulletin   advising   the  telephone   operators    no 
longer  to  say  "No  work"  to  job-seeking  extras. 

Instead,  commands  the  decree,  the  hello-girls  should  reply,   "Try  later." 


IN  a  town  of  strange  happenings,  one  of  the  strangest  took  place  recently  when 
hundreds  of  men  in  evening  clothes  walked  across  a  bare  stage,  removed  their 
coats,  gloves  and  hats,  bowed  and  smiled  and  then  passed  on. 


28 


3%w  3*k  3^  3Si.  !Ssi.  3s*  3**  3^  3*s*  35*.  3*%*  3s*  3s*  3»»  -5s*.  3**  3s»  3s*  3s»  3s*  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3^  3s*  3^  3*. 

There  was  a  reason  for  the  strange  parade.  Members  of  the  Central  Casting 
office  sat  hack  in  the  darkened  theater  and  judged  the  men  who  passed.  Those 
who  were  nattily  attired,  sure  and  easy  in  their  manner,  were  classified  as  ten  and 
fifteen  dollar  extras.     The  others  were  demoted  to  the  five  dollar  ranks. 

AND  what  a  parade  of  heartbreaks  it  proved  to  be!  Men,  whose  dress  suits 
were  green  with  age,  faltered  on,  their  white  faces  twitching  with  nervousness, 
their  hands  trembling,  telling  over  and  over  the  tragic  story  that  lies  forever  seeth- 
ing beneath  the  pomp  and  glitter  of  Hollywood. 

One  elderly  gentleman  in  his  frayed  evening  clothes,  entered  nervously,  dropped 
his  gloves  and  stooping  to  retrieve  them,  stumbled  to  his  knees.  Carefully  avert- 
ing his  face  to  hide  the  tears  of  shame,  he  slowly  walked  from  the  stage. 

"That  man  will  never  make  the  grade,"  one  woman  judge  remarked.  "He 
evidently  knows  nothing  about  etiquette  and  has  probably  never  been  anywhere." 

"My  dear,"  said  her  neighbor,  "that  is  only  a  former  Russian  nobleman.  And 
he  has  dined  with  kings." 

The  parade  continued. 

THOSE  newly  weds  Margaret  Sullavan  and  William  Wyler  were  house  hunting, 
and  hearing  of  a  place  that  sounded  suitable,  they  sent  their  chauffeur  out  to 
investigate,  they  being  unable  to  leave  the  studio. 

In  a  little  while  the  chauffeur  was  back. 

"Well,  what  was  it  like?"  Margaret  asked  him. 

"Oh,  just  like  a  house,"  was  the  reply. 

"What  was  in  it?"  she  asked  next. 

"Oh,  just  rooms." 

"What  were  the  walls  like?" 

"Well,  they  were  neither  dark  nor  light,"  he  replied,  "they  were  just  blase,  I 
guess." 

The  Wylers  didn't  take  the  house. 

IF  we  could  see  enough  newsreels,  we  would  scarcely  need  a  newspaper.  The 
development  in  this  field  is  as  amazing  as  that  in  journalism.  The  reporting  of 
the  burning  of  "Morro  Castle"  and  the  assassination  of  King  Alexander  of  Yugo- 
slavia are  arresting  examples  of  news  enterprise. 

It  would  be  almost  impossible  to  imagine  anything  more  gripping  than  this  raw 
drama  captured  by  the  eye  of  the  camera.  The  mimicry  of  the  screen  loses  sig- 
nificance, for  the  moment  at  least,  compared  with  such  stark  realism. 

IT  happened  at  a  motion  picture  theater  in  Albuquerque,  New  Mexico.  Two 
women  were  talking  about  the  stars  of  Hollywood.  "I  think  they're  terribly 
over-rated,"  one  woman  remarked  to  another.  "There  are  just  as  many  dis- 
tinguished looking  girls  right  here  in  this  town.  Glance  at  that  girl  next  to  you, 
for  instance.     Isn't  she  just  as  striking  as  Hepburn?" 

But — it  was  Hepburn!     On  her  way   East  she  had  stopped   off  the  plane  at 
Albuquerque  to  catch  "The  Chief,"  and  had  taken  in  a  movie  while  she  waited. 
There's  only  one  Hepburn  after  all,  be  it  Hollywood  or  be  it  New  Mexico. 

YOU  who  love  Old  Hollywood  will  get  a  kick  out  of  Scoop  Conlon's  reminiscences 
of  the  days  when  the  cinema  was  young,  and  its  first  players  trooped  down  Wil- 
shire  Boulevard  in  the  grand  parade  that  marched  straight  to  fame.  Turn  to 
"Hollywood,  My  Hollywood,"  in  this  issue.     It's  a  treat. 

3^^^3^3^3^3S3S3^^3^3i3^3^3^3^3^3^3S3^3t3S3^3^3S3^3^3S3^3^3^3£3^3^3^3^3S^^3S^% 

n 


Photoplay  Magazine  for  February,  1935 


25 


Gary  Cooper,  righting  Man 

of  all  Nations! 


by  James  A.  Daniels 


He  has  worn  the  uniforms  of  a  half-dozen  nations  and  twice  that  many 

branches  of  the  various  services.   He  has  carried  every  known  form  of  war 

weapon  from  a  six-gun  to  a  cavalry  lance.    He  has  soldiered  in  the  Sahara, 

the  trenches  of  France,  the  mountains  of  Italy  and  on  the  battlefields  of  our 

own  Civil  War.     He  has  fought  hand-to-hand,  in  the  air  and  astride  a  horse. 

That's  the  unique  record  of  filmdom's  best-beloved  portrayer  of  warlike  roles 
— Gary  Cooper.  Too  young  to  see  actual  service  in  the  World  War,  the  tall 
Montana  lad  nevertheless  has  earned  the  screen  title  of  "The  Fighting  Man  of 
All  Naiions." 

He"enlisted"first  as  an  aviator  in  that  never-to-be-forgo  ten  .picture, "Wings." 
Then  came  brief  periods  of  service  in  the  French  Foreign  Legion  in  "Beau 
Sabreur  "and  again  in"Morocco."  Who  can  forget  him  as  the  American 
ambulance  driver  on  the  Italian  front  in  "A  Farewell  to  Arms' '?  Then 
there  were  the  roles  of  the  British  Tommy  in  "Seven  Days  Leave," 
the  U.  S.  Marine  in"If  I  Had  a  Million"and  the  American  dough- 
boy in  "The  Shopworn  Angel. ' '    More  recently  he  turned  time  back 
to  don  the  uniform  of  an  officer  of  the  Confederacy  in  the  Civil  War. 

Nor  is  Gary  through  with  uniforms.  He  has  just  finished  the  stellar 

role  in  Paramount's  "The  Lives  of  a  Bengal  Lancer "  and  both 

Gary  and  the  studio  believe  it  is  the  most  colorful  characieriza- 

tion  of  them  all.     As  the  heroic  young  captain   in  this  picked 

British  regiment  stationed  on  the  northern  boundary  of  India, 

Gary  alternates  between    he  English  Armyservice  uniforms  and 

the  picturesque  Indian  dress  uniforms  worn  in  honor  of  the 

native  allies  of  the  British. 


But  more  important  than  the  uniforms  he  wears  is  the  part  he 
plays.    It's  the  tensely  dramatic  role  of  a  British  officer  who 
goes  gayly  into  danger  in  order  that   the  honor  of  the  regi- 
ment, the  Bengal  Lancers,  may  remain  unsullied  and  that  a 
soldier-father  may  never  know  that  his  son  betrayed  the  regi- 
ment. Critics  who  have  seen  the  picture  agree  that  it  marks  a  new  high 
for  Cooper  and  that  the  picture  promises  to  be  to  talking  pictures 
what  "Beau  Geste"  was  to  the  silent  screen. 

Surrounding  Cooper  in  this  colorful  setting  are  such  excellent  actors 

as  Sir  Guy  Standing,  himself  an  officer  in  the  British  Navy  in  the 

World  War,  Richard  Cromwell,  Franchot  Tone,  C.  Aubrey  Smith, 

Monte  Blue  and  Kathleen  Burke.   Henry  Hathaway  directed  "The 

Lives  of  a  Bengal  Lancer,"  a  picture  which  has   taken   three 

make,   and   which    was    partially 


filmed  in   India. 


i 

[Advertisement] 


By  Scoop    Con  Ion 

ILLUSTRATED  BY  FRANK   GODWIN 


Scoop  Conlon  anil 
William  Frawley 


My  Hollywood 


IP"  only  we  could  have  rubbed  Aladdin's  lamp  twenty-odd 
years  ago! 
There  we  were  luxuriously  sprawled  beneath  the  shade  of 
a  palm  tree  on  the  soft  grass  of  a  Hollywood  boarding- 
house  lawn.  .  We  had  parked  our  tired  dogs  after  our  daily  hike 
over  the  tortuous  Cahuenga  Pass  to  and  from  a  quaint  little 
joint  they  called  a  movie 
studio,  a  trail  worn  through 
the  mountains  by  two  centu- 
ries of  weary  journeys  made  by 
gentle  old  Spanish  padres  and 
their  Indian  neophytes. 

We  were  neophytes  in  this  new 
game  they  called  the  movies. 
An  Irish  song  and  dance  man 
from  Iowa  and  an  Irish  writer 
from  Missouri  trying  to  crash 
the  studios.  Carefree  birds  of 
passage,  we  had  no  serious 
thought   of   movie   careers. 


SCOOP   CONLON 

By   William   Frawley 

If  Scoop  Conlon  wasn't  the  tirsl,  while  baby  born  in  Southern 
California,  he  must  have  crossed  I  he  plains  in  a  covered  wagon.  He  is 
more  native  than  a  native  son. 

Running  around  with  him  in  Hollywood  is  like  attending  an  Old 
Settlers'  picnic.     He  knew  everybody  when. 

Scoop  is  a  half-pint  in  size  only. 

He  is  Irish  in  everything,  including  his  pan.  Rollicking  sense  of 
humor.  Cocky  but  good  natured.  Gay  but  sentimental.  Sociable 
little  guy. 

He  has  been  married  to  a  swell  little  girl  for  seventeen  years,  which 
is  a  record  in  Hollywood,  and  Hollywood  marvels  that  she  has  put  up 
with  him  that  long.     They  have  one  daughter,  fifteen. 

The  Conlons  live  at  Toluca  Lake,  as  close  to  the  first  lee  as  possible. 


Three   squares   a   day    and   a   soft    bed   was   the   main   idea. 
Bill  Frawley  dreamed  of  Broadway  musical  comedy,  while  I 

toyed  with  mirages  of  the  South  Seas.     How  could  we  know? 

We  didn't   have   Aladdin's  lamp.      Besides,   motion   pictures 

were  "still"  in  their  infancy! 

Hollywood  siesta-ed  in  the  sun.    The  air  was  laden  with  the 

sweet  scent  of  orange  blossoms. 
Ranches  dotted  the  boulevard 
of  yesterday.  Majestic  euca- 
lyptus, palms  and  peppers 
shaded  the  streets.  Flowers 
ran  riot  everywhere.  Roses, 
poppies  and  hibiscus  graced  the 
lawns,  wistaria,  bougainvillaea 
andt  honeysuckle  colored  the 
bungalows.  The  climate  was 
balmy. 

Here  and  there  an  occasional 
two-story  village  business 
building  defaced  the  pastoral 


26 


In  the  good  old  days,  when  Hollywood  siesta-ed  in  the  sun,  and  everybody  stood  on  the  corner  of  Hollywood  Boulevard  and  Vine 

Street  to  watch  the  movie  parade  go  by.    Those  were  the  days  when  you  saw  Charlie  Chaplin  with  his  cane  and  baggy  trousers, 

when  Mary  Pickford  dressed  in  gingham  and  had  her  curls,  and  Bill  Hart  wore  a  ten  gallon  hat 


landscape.      But,   even   these   village   necessities   possessed   a 
:ertain  quaint  charm  and  tradition. 

How  well  we  recall  Hall's  grocery  store  where  the  genial, 
trustful  proprietor  cashed  our  movie  checks  Here  we  loafed 
swapped  lies  and  did  a  little 
whittling  with  the  boys.  Or, 
"Frenchy"  Blondeau's  barber 
;hop  where  we  hung  out  to  get 
in  occasional  haircut  and  read 
R  free  Police  Gazette.  Or,  the 
..harming  old  Hollywood  hotel 
vhere  we  dined  and  danced 
vith  our  best  girl  of  a  Saturday 
light,  if  we  had  the  price. 

If  only  we  could  have  rubbed 
Uaddin's  lamp. 
!    Once  again  Bill  Frawley  and 

stroll  together  down  Holly- 


WILLIAM  FRAWLEY 

By  Scoop    Con  Ion 

Bill  Frawley  has  a  pasl  which  he  lias  been  trying  Lo  live  down  lor 
years.     lie  was  Hollywood's  first  crooner 

Like  all  good  Ioway-ans.  when  he  left  the  old  homestead,  he  headed 
straight,  for  Californi-ay,  driving  a  buggy 

Bill  had  a  vague  idea  he  was  an  actor,  hut  the  movies,  "still"  in  their 
infancy,  decided  he  was  a  song  and  dance  man. 

Being  Irish  as  the  shamrock,  Bill's  sentimental  nature  lenl  a  devastat- 
ing charm  to  his  crooning  of  sad  ballads  to  the  cabaret  devotees. 
Broadway  heard  about  it.  adopted  him.  lie  knows  everybody  in  show 
business  and  the  sporting  world.     Talks  with  Broadway  accent. 

Came  the  talkies,  or  the  dawn  or  something.  Lo  and  behold, 
Hollywood  "re-discovered"  Bill  Frawley.      He  came  back  as  an  actor 

He's   unmarried,    girls.      Husky,    hot-tempered,    but   sweet-natured. 


wood's  main  stem.     My  old  pal  is  back  from  the  Broadway 
wars,  a  successful  actor  giving  Hollywood  his  first  double-take 
in  many,  many  moons 
The  sun  still  shines,  the  climate  is  still  balmy.    But  the  trees, 

the  flowers  and  the  orange 
ranches  are  gone  these  many 
years.  With  them  went  the 
beauty,  the  charm  and  the  spell- 
of  the  Southern  California  vil- 
lage street.  The  song  is  done. 
Today,  if  you  stand  on  the 
corners  of  Hollywood  Boule- 
vard and  Vine  Street  long 
enough  you  will  meet  every  body 
you  ever  knew.  Sure,  just  like 
Forty-Second  and  Broadway 
of  New  York. 

[  PLEASE  TURN  TO  PAGE   106  I 


27 


Who  Is  Your  Husband'. 

Favorite  Actress? 

And  What  Are  You  Going  To  Do  About  It? 


Many  a  quiet,  stay-at-home  man  goes 
crazy  over  Harlow.  If  your  husband 
comes  out  of  the  theater  raving  about 
Jean's  radiant  loveliness  and  bare 
shoulders,  you  should  do  something 
about  it.  And  you  had  better  not 
waste  much  time 


Does  the  man  you  love  walk  a  mile 
to  see  Gaynor  on  the  screen?  If  he 
does,  look  into  your  own  past  and 
present,  and  govern  your  future  ac- 
cordingly. There's  a  reason  for  his 
preference,  and  it's  very  important 
to  you 


By  Ruth  Rankin 


DOES  your  husband  go  out  of  the  theater  doing  a  rave 
about  Mae  West  or  Greta  Garbo  or  Janet  Gaynor? 
Does  he  keep  it  up  all  the  way  home?  And  does  it 
quietly  burn  you  to  a  handsome  brown  crisp  or 
show  up  the  electrical  sparks  like  a  blown-out  fuse? 

Come  on  now,  girls.  Don't  deny  it.  I  know  better.  If  you 
don't  get  mad,  either  inwardly  or  visibly,  you  simply  are  not 
human.  And  if  you  weren't  human,  you  wouldn't  have  a  man, 
or  go  to  a  movie.    Case  dismissed. 

The  less  you  resemble  the  actress  who  rates  the  rave,  the 
madder  the  whole  business  makes  you.  If  you  are  a  little  bit 
like  her,  it's  apt  to  be  quite  nattering.  I  know  a  man  who  can 
snap  his  wife  out  of  her  worst  peeve  by  saying,  "Take  off 
those  whiskers,  Joan  Crawford,  I  know  you!'' 

The  sages  tell  us  it  is  fatal  to  analyze  too  closely  those  who 
have  our  devotion.  So  don't  put  your  husband  on  the  pan. 
Analyze  yourself  and  the  woman  on  the  screen  who  has  his 
admiration.  Remember,  you  can  change  practically  every- 
thing else  in  this  life,  but  you  can't  change  a  man. 

Why  not  regard  your  man's  enchantment  at  the  hands  of 
his  favorite  picture-girl  as  a  break  for  you? 

It  is  certainly  a  perfect  indication  of  his  choice,  a  barometer 
of  his  likes  and  dislikes.  Instead  of  being  incensed  about  it, 
why  not  be  guided  by  it? 

For  instance,  there  is  a  certain  brawny  gentleman  (you  all 


28 


Maybe    you   are    one   of   those    wholesome-as-bread-and-butter 
women,  and  your  husband  does  emotional  cartwheels  at  the  men- 
tion of  the  glamorous,  languorous-eyed  Garbo.     However,  don't 
be  incensed  by  his  raves  over  Greta.    Be  guided  by  them 


;now  one  just  like  him)  who  has  a  yen  for  Janet  Gaynor,  which 
eaves  his  wife  fit  to  be  tied. 

It  has  not  yet  dawned  on  Mrs.  S that 

ive  years  ago,  when  she  married  Bill  S 

>he  was  a  cuddly  little  thing  who  made 
aim  feel  big  and  strong  and  wonder- 
ul.    Bill  had  some  kind  of  an  idea 
hat  he  was  going  to  be  head  of 
lis  own    house — but   five   years 
lave   changed   all    that.      Mrs. 
5 has    developed   a    re- 
grettable  air   of   positiveness, 
ind  is  about  as  helpless  as  an 
irmored  tank. 

Some  day  she  will  get  around 
o  the  realization  that  papa  is 
:razy  about  Janet  because 
Janet  reminds  him  of  the  days 


Ai  surprising  number  of  men 
suffer  with  Colbert  trouble.  If 
Vour  husband  has  been  smitten 
by  Claudette,  don't  take  it  as  a 
Joke.  The  poor  man  may  crave 
bangs 


when  he  had  the  situation  in  hand  and 
was  permitted  to  be  protective.  Then 
she  will  know  that  his  enchantment  is 
in  reality  an  indirect  compliment  to  her. 

This  one  happens  to  be  a  case-history 
with  an  obvious  solution.  There  are 
many  which  offer  more  of  a  problem — 
in  fact,  there  are  several  which  seem 
beyond  hope  at  the  first  diagnosis. 

A  perfectly  charming  merchant,  who 
seems  quite  well-balanced  in  every  other 
respect — has  gone  ga-ga,  non  compos 
mentis,  in  plain  American — mils — about 
Greta  Garbo.  He  admits  it  without  a 
blush,  the  rogue.  He  will  drive  to 
Pasadena  in  a  pouring  rain  to  see  a 
Garbo  picture  for  the  third  time. 

To  make  the  situation  practically 
hopeless,  his  wife  is  a  bouncing  athletic 
girl  with  all  the  glamour  of  a  bowl  of 
wholesome  baked  beans. 

She  pretends  to  be  amused  about  it, 
but  it  annoys  her.  If  she  had  eyelashes 
as  long  as  Garbo's,  she  would  trip  over 
them,  and  her  eyes  snap  and  sparkle  in 
place  of  her  rival's  troubled  languor. 
But  all  is  not  lost.  She  has  two  natural 
assets  which  would  safely  eliminate  the 
accusation  of  imitating  Garbo,  and  she 
could  use  them  to  advantage  .  .  . 

One  is  a  long  free  stride  and  the  other 
is  a  gorgeous  [  please  turn  to  page  111] 


Th 


e 


The  tiny  but  completely  furnished  playhouse  is  a  favorite  spot 
for  the  kindergarten  youngsters.  The  little  girl  with  the  doll,  in 
the  doorway,  is  Mary  MacArthur,  child  of  Helen  Hayes  and 
Charles  MacArthur.  Next  to  her,  seated  in  the  chair,  is  Mary 
Elizabeth,  daughter  of  Joe  E.  Brown 


School 

That 

Never 

Has  A 


Truant 


A  class  of  younger  pupils,  playing  while  they  learn.  They 
may  choose  to  do  whatever  they  wish — modeling  in  clay, 
building  with  the  blocks,  working  out  puzzles.  The 
sturdy  young  chap  standing  with  the  ball  in  his  hand  is 
Dick  Thomson,  son  of  Frances  Marion,  writer 


MIDWAY  between  the  film  factories  of  Culver  City 
and  Hollywood  is  the  Carl  Curtis  School  for  Boys 
and  Girls.  Here  children  of  the  stars  receive  their 
educations. 
You've  probably  supposed  that  the  favored  sons  and  daugh- 
ters of  the  movie  great  attend  no  ordinary  school.  And  you're 
right!  For  Curtis  is  the  kind  of  school  little  boys  and  girls 
dream  of — where  swimming  and  boxing  are  part  of  the  curric- 
ulum, and  outdoor  games  are  as  important  a  subject  as 
arithmetic. 

30 


The  kindergarteners  go  home.  Each  child  is  taken 
by  the  principal,  Mr.  Broadbent,  to  the  school  bus, 
where  Miss  Alice  Calhoun,  instructor,  sees  them  to 
their  doors.  The  kidnapping  menace  has  made 
such  precaution  doubly  important 


Fortunate  children, 
these  youngsters  of 
the  stars!  For  Holly- 
wood has  that  kind  of 
school  that  every 
little  girl  and  boy 
has  dreamed  about 

By  Julie  Lang  Hunt 


It   all    began   ten   years   ago    when    Cecil    B-. 

eMille,  Jack  Holt,  Will  Rogers,  Noah  Beery 
id  other  film  celebrities  learned  that  the  late 
arl  Curtis,  well-known  physical  culture  special 
|t,  and  J.  Howard  Broadbent,  an  all-around 
^ademic  man,  had  devised  a  system  whereby 
pysical  and  mental  development  were  given 
]ual  importance  in  child  education. 
|  A  more  narrow,  conventionalized  community 

ight  have  been  afraid  to  start  a  school  on  such 
radical  idea.  But  it  sounded  like  sense  to  Holly- 
wood. So  stars,  directors,  producers,  brought 
jeir  children  to  the  two  educators,  and  school 
i-3gan. 

Before  the  end  of  the  first  year,  every  parent 
I  Hollywood  was  excited  about  what  was  hap- 
ping to  the  youngsters  at  Curtis. 
;  Even  the  kindergarten  babies  had  learned  to 
'vim.  And  all  the  grade  children  could  speak 
jrench.  Serious  physical  defects  had  been  cor- 
seted   by    gymnastics.      Timid    children    had 

come    social    ring-leaders.      Sullen    ones    had 


The  classrooms  are  planned  for  health  and  maximum  comfort. 
Notice  the  adjustable  desks  and  seats,  movable  so  the  child  can 
move  closer  to  the  board  or  light  if  he  needs.  The  blonde, 
bobbed  haired  youngster  in  the  corner  is  Ruth,  the  daughter  of 
Conrad  Nagel 


l'lV 


mk 


Each  youngster  is  given  a  carefully  planned  and 
well-balanced  dinner  at  noon.  Parents  are  re- 
quested to  serve  them  only  light  suppers  at  night. 
The  young  man  being  served  by  the  school  dietitian 
is  Richard  Hoffman,  son  of  Janet  Beecher 


The  sunny  California  weather  and  the  school's  policies  of 
health  and  freedom  make  it  feasible  to  hold  most  of  the 
classes  out  of  doors.  Here  is  the  eighth  grade,  having 
history  lesson  in  a  sunny  patio,  beneath  a  big  sunshade. 
And  how  hard  they're  studying! 


acquired  happy,  normal  dispositions.  And  the  increase  in  each 
child's  weight,  general  health  and  mental  alertness  brought  the 
star-mothers  and  fathers  in  swarms  to  the  doors  of  the  Curtis 
School. 

Almost  immediately  applications  from  private  families  as 
well  as  Hollywood's  inner  circles  swamped  the  institution.  It 
was  necessary  to  place  a  limit  on  the  student  body,  so  it  was 
set,  and  still  is  set,  at  eighty. 

But  the  sturdy  approval  with  which  Hollywood  looks  up  to 
the  Curtis  School  is  no  mere  fetish.    I  think  the  attitude  of  the 

31 


Acrobatics  are  an  important  part  of  the  curriculum  at  the  Curtis 

School.     Two  of  the  girls  demonstrate  their  skill  in  this  sport. 

The  girl  on  the  right  is  Marcelite  Boles,  daughter  of  John  Boles 

and  an  accomplished  athlete 


mendously.     He  can  prove  this  with  records  which 
show    that    eighty    per   cent    of   the   students 
transferred    from     Curtis    to    the    public 
grammar  or  high  schools  are  advanced 
from  one  to  three  grades  in  all  branches 
f  academic  work. 
Let     us     follow     a     hypothetical 
student,  first,  through  the  amaz- 
ing pyramid  of  details  attend 
ant    upon   his   entrance  into 
the  Curtis  School,  and  then 
on  through  his  courses.  His 
mother,     let     us    say,    is 
( lloria  Glorious,  a  famous 
Mar,   and   her  five-year- 
old  Jimmy  is  the  sugar- 
ed   apple    of    her   eye, 
even     more     sugared 
than   her  studio  con- 
tract. 

Miss  Glorious  calls 
upon  Mr.  Broadbent 
with  Jimmy  in  tow, 
and  is  slightly  piqued 
by  the  absence  of  flurry 
and  scurry  when  she  an- 
nounces her  desire  to 
place  her  child  in  the 
kindergarten  class. 
If  the  school  is  not  over 
the  eighty  mark,  she  is  sup- 
plied with  a  medical  blank, 
told  to  have  it  filled  out  com- 
pletely by  the  family  physician 
and  return  with  Jimmy  for  his  men- 
tal and  psychology  test  within  two 
days. 
If  Gloria  can  recover  from  such  casual 
treatment,  and  she  usually  does,  she  returns 
promptly  with  Jimmy  who  is  turned  over  to  Dr.  J. 
Harold  Williams  of  the  University  of  California  at  Los 
Angeles,  for  a  thorough  mental  analysis. 

Then  the  star  and  her  Jimmy  go  home  and  wait  until 
a  notice  from  the  school  informs  her  whether  the  child 
is  eligible.     If  his  medical  account  shows  up  too  badly. 


film  parents  is  summed  up  in  a  state- 
ment Clive  Brook  made  to  me  a  year 
ago  when  both  his  daughter  Faith  and 
his  son  Clive  were  attending  Curtis. 

"The  youngsters  are  getting  the  best 
in  scholastic  training  there,"  he  said, 
"but  that  is  available  at  many  other 
schools,  too.  The  feature  of  this  school 
that  appeals  to  me  is  the  physical  skill 
it  produces  even  in  a  child  as  small  as 
Faith.  She  will  never  have  a  chance  to 
be  bored  much  with  life  when  she's 
older.  Not  only  her  mind  will  be 
trained,  but  her  body  as  well.  And 
when  a  boy  or  a  girl  can  swim,  ride, 
skate,  play  tennis  and  golf  expertly, 
there  isn't  going  to  be  much  loneliness 
or  restlessness  ahead  for  them." 

And  Clive  Brook  is  right. 

When  the  body  is  trained  as  skilfully 
as  the  brain,  life  is  bound  to  be  a  nicely 
balanced,  absorbing  affair. 

And  it  is  the  convincing  theory  of  J. 
Howard  Broadbent  and  his  staff  of  a 
dozen  instructors,  a  theory  based  on  the 
findings  of  a  decade,  that  physical  prow- 
ess speeds  up  mental  development  tre- 


Naturally  these  Hollywood  youngsters  are  interested  in  dramatics!     The 

girl  on  the  extreme  right  is   Sheila  McLaglen,  the  daughter  of  Victor. 

Curtis   pupils   learn   to   appreciate   and   understand   the   works  of  great 

dramatists  by  acting  out  scenes  from  their  plays 


(he  mental  tests  reveal  too  great  an  emotiona 

stability,  Jimmy  hasn't  a  chance. 

But  if  Dr.  Williams'  findings  reveal  that 
Immy  is  only  a  spoiled,  over-indulged 
impered  little  boy,   who  can  be  re- 
iaped  into  a   tine  citizen,   he   be 
jmes  a  Curtis  charge. 

His  first  day  at  school  is  spent 
1  the  examination  room  of  the 

ad  of  the  physical  culture 
Apartment.    William    Mc- 
jlasters.    Jimmy  is  photo- 

aphed   in    silhouette    to 
;io\v  defects  in  posture, 
jiotprints  are  taken,  his 
md    grip    tested,    his 
toulder  strength  tried 
it,  his  legs  measured, 
ie    tilt    of    his    head 
;>ted,  his  heart,  his 

ngs,  his  muscle  tone, 
s  nutrition,  his  skin, 
j.   fact    there   isn't    a 
10k  or  cranny  of  Jim- 
y    that    isn't    charted 
,id  indexed  by  his  ex- 
niners. 

!  By  the  end  of  the  day, 
IcMasters  and  his  three 
.illed  assistants  have  map- 
fed    out    Jimmy's     physical 
;ork  for  the  forthcoming  year. 
is  stooped  shoulders  are  to  re- 
live certain  stretching  exercises 
s  flabby  muscles  will  require  slow 
jvelopment,  his  fear  of  physical  pain 

underscored  for  careful  consideration 
1  swimming  classes  and  acrobatic  work. 
;  The  next  day,  Jimmy  joins  the  kindergarten, 
hich,  because  of  California's  almost  flawless 
imate,  is  conducted  outdoors  almost  every  day  in  the 
par.  Among  his  classmates  he  discovers  chubby,  blind 
eter  Bennett,  Constance  Bennett's  son,  and  his  young 
>usin,  Diana,  daughter  of  Joan  Bennett.  The  little 
Iris  at  the  end  of  the  play  table  are  Mary  MacArthur, 


Physical  training  is  given  equal  importance  with  mental  gym- 
nastics.    And   soccer,  for  both  boys  and  girls,  begins  in  the 
fourth  grade.     This  game  starts  with  Richard  Hoffman  kicking 
the  ball 


ptfp* 


These  youngsters  learn  ballroom  dancing  before  they  are  "grown  up" 

enough  to  feel  self-conscious  about  trying  a  tango  with  the  best  beau  or  the 

girl  friend !    The  tall  young  lady  with  the  boyish  bob,  on  the  extreme  left, 

is  Jane  Rich,  daughter  of  Irene  Rich 


daughter  of  Helen  Hayes  and  Charles 
MacArthur,  and  Mary  Elizabeth  Brown, 
the   wide-grinning  Joe   E.'s  youngster. 

Later  he  makes  the  acquaintance  of 
John  Brooks  Morris  (Chester  Morris) 
and  William  David  Powell  (William 
Powell),  a  pair  of  robust  youngsters. 

Jimmy's  teacher  has  a  detailed  ac- 
count of  his  psychological  and  physical 
tests  in  the  top  drawer  of  her  desk  and 
she  knows  already  that  he  is  over-sensi- 
tive, unsocial,  inclined  to  be  destructive 
anddomineeringand  abundantly  curious. 

But  a  series  of  scientifically  arranged 
games  soon  build  up  Jimmy's  self-con- 
trol and  stimulate  the  sprouting  of  his 
first  pinfeathers  of  good  sportsmanship. 
His  demolishing  little  hands  are  kept  so 
busy  with  crayons,  clay,  tools  and 
scissors,  he  forgets  his  original  plans  to 
scratch  the  colored  pages  out  of  the 
picture  books. 

He  learns,  painlessly,  to  take  a  nap 
from  eleven  to  eleven-thirty  every  morn- 
ing, although  his  mother  and  all  his 
nurses  never  had  any  luck  along  this  line 
at  home.      [  please  turn  to  page  118  | 

33 


Mary  Pickford's 

Search  for  Happiness 


I 


FIRST  saw  Mary 
Pickford  in  "  The  War- 
rens of  Virginia."  She 
played  the  part  of  an 
angelic  golden-haired  little 
girl  and  to  me — just  a  child, 
myself  —  she  seemed  as 
radiant  as  the  princess  in 
the  fairy  tale!  If  anyone 
had  told  me  that  she  wasn't 
completely  happy  I  would 
have  burst  into  tears — tears 
of  disillusionment. 

That  was  the  only  behind-footlights-role  in  which  I  ever  saw 
Mary  Pickford,  but  through  the  years  I  have  watched  her  upon 
many  a  motion  picture  screen.  I  have  followed  her  film  career 
with  breathless  interest;  I  have  seen  her  achieve  recognition 
and  near  greatness  and — at  last — actual  greatness.  I  have 
applauded  silently  as  she  became  a  world  figure — and  this  is 
not  my  first  written  tribute  to  her,  not  by  any  means!  And 
yet — although  I  have  applauded  her  both  silently  and  with 
my  pen — the  conviction  that  she  was  the  always  gay,. invariably 
light-hearted   princess  of   romance   left   me  long  since. 

"\  y4"ARY  PICKFORD,  in  common  with  every  other  normal, 
■'■^-'-wholesome  woman,  has  had  her  plethora  of  problems  and 
tragedies — her  moments  of  pain  and  heartbreak.   When  I  finally 
met  her  I  knew  that  my  diagnosis  had  been  correct,  for  under- 
lying her  charm  was  a  sense  of  wistf  ulness,  and  her  eyes — at  times 
— were  shadowed  with  longing.     As  I  have  come  to  know  her 
better   and   better   I    have 
often  felt  that  she  was 
searching  through  the  high- 
ways and  byways  of  life  for 
some  intangible  thing.    Her 
search  has  carried  her  across 
desert    places   and   beyond 
the  seven  seas.     She  has 
gone   exploring — really   ex- 
ploring— in  the  hope  of  find- 
ing for  herself  the  loveliness 
of   existence    that    she   has 
given  to  so  many  people. 

Finding  the  loveliness  of 
existence!  It  hasn't  been 
as  easy  for  Man'  Pickford 
as  the  casual  observer  would 
suppose.  Life  hasn't  always 
been  a  bed  of  roses  for  her 
— no,  indeed!  She  has  told 
me  that,  as  a  youngster,  she 
knew  actual  poverty,  and 
poverty  is  an  experience 
that  lingers  in  the  mind  no 
matter  how  much  —  and 
how  often — success  comes 
your  way.     Of  course,  she 

34 


This  noted  star  tells  you  that 
striving  toward  an  elusive  goal 
has  been  something  far  removed 
from  the  veneer  ealled  success 

By  Margaret  E.  Sangster 


iderful 


Before  the  microphone,  Mary  must  feel  her  search  for 

happiness  has  nearly  ended.    By  closing  her  eyes,  she 

can  visualize  thousands  who  care  for  her 


had  the  most  won 
mother  in  the  world — you' 
should  see  her  face  when 
she  speaks  about  her 
mother!  Mrs.  Pickford; 
could  by  the  magic  of  her 
personality  make  even  cold 
and  hunger  seem  part  of  ari' 
amusing  game.  It  was  she 
— I  am  sure — who  started 
Mary  on  her  search  for 
happiness;  it  was  she  who 
gave  her  daughter  the 
courage  to  seek — beyond  the  minor  discomforts  of  the  moment 
— for  truth.  Mrs.  Pickford's  code  was  to  square  the  shoulders 
and  to  keep  the  chin  up  to  pack  one's  troubles  into  the 
proverbial  kit  bag  and  "smile,  smile,  smile  .  .  ." 

Mary  Pickford  learned  from  her  mother  that  gallantry  is  a 
gracious  garment  which  the  soul  wears — that  if  one  dresses 
one's  soul  in  a  brave  garment  a  ragged  frock  doesn't  count 
against  one. 

During  the  long  years  that  have  led  her  from  obscurity  toj 
fame,  Mary  Pickford  has  had  to  tell  herself,  often,  that  gal- 
lantry of  the  soul  was  more  important  than  the  surface  sparkle 
that  is  known  as  glamour.  She's  been  surrounded  with  glamour 
— saturated  with  it — for  a  couple  of  decades,  but  it  hasn't; 
meant  very  much  when  measured  against  the  real  thing.  Heri 
striving  toward  an  elusive  goal  has  been  something  far  re- 
moved from  that  veneer  which  the  world  calls  success.  There 
are  times  when  I  have  thought  that  the  applause  of  the  crowd: 

must  have  had  an   empty 
sound  to  her  ears.     For — in 
her  personal  life  —  Mary 
Pickford  has  known  her 
times  of  defeat.      She  has 
struggled  against  fate — and! 
has  not  always  triumphed. 
Take  her  first  marriage, 
with  Owen  Moore.      Man 
entered  into  that  marriage, 
with  high  hopes  and  brave' 
ideals,    but    it    didn't   jell  | 
Her  second    marriage  — 
which  was   thought  by  the 
general  public  to  be  the  per- 
fect thing — has  come  to  a 
saddened    cross-road.    The  j 
two  people  she  most  adored  ; 
—  her  mother   and  her 
brother,  Jack — were   taken 
from  her  prematurely.  Even 
now  her  eyes  fill  with  swift  j 
tears  when  Jack's  name  is 
mentioned,  and  —  as  I've 
said  before — you  should  see 
her  face  when  she  speaks  of 
her  mother!     Although  she 


"An  angelic, 


golden-haired  little  girl,"  Miss  Sangster  described  Mary  when  first  she  saw  her,  and  believed  her 

then — completely  happy 


,'ves  every  youngster  in  the  world,  she  has  no  children  of  her 
,\vn — her  maternal  affection  is  lavished  upon  her  niece,  Gwynne 
,-her  sister  Lottie's  daughter. 
And  then,  too,  the  prestige  which  she  has  gained  and  the 
ealth  that  she  has  accumulated  have  not  brought  ease 
|Iary  Pickford  works  harder  than  anybody  I  know.  Some 
mes  I  think  she  is  goaded  into  the  terrific  amount  of  work  by 
lis  search  of  hers — this  search  for  happiness.  Sometimes  I 
link,  that  she  expects  to  find,  in  artistic  and  spiritual  en- 
eavor,  the  fulfillment  that  she  has  not  found  in  her  personal 
Nations. 


Trouble,  to  Mary  Pickford,  is  something  that  must  be  worked 
with  and  transformed.  The  following  incident — which  I  trust 
[  will  quote  correctly — illustrates  my  point  in  this.  Her  com- 
pany', it  seems,  was  making  a  picture  and  the  picture  needed — 
to  lend  tragi-comedy  to  a  certain  sequence — a  decrepit,  for- 
lorn horse.  There  was  a  long  and  involved  search  before  a  nag 
pitiful  enough  to  fill  the  bill  was  located.  When  the  right 
animal  was  finally  found  the  entire  studio  must  have  declared 
a  holiday! 

I  don't  suppose  that  ever — before  or  since — there  was  seen 
such  a  lean  and  hungry  horse.     I  [  please  turn  to  page  119  ] 

35 


^ 


And  So  the  Great 


A 


Max  Reinhardt  fully  believes  Shakespeare 
should  be  on  the  screen,  and  he's  going  to 
put  him  there,  for  Warners.  His  first  will  be 
"A  Midsummer  Night's  Dream,"  and  here 
he  is  signing  his  contract  for  the  merry  Bard- 
of-Avon  Comedy 


(  ROSS     the    desk     in     his     office     at     Warner 
Brothers,  he  looks,  in  his  plain  brown  business 
suit,   modest   tie  and  equally   modest   linen,   more 
like  a  successful  merchant  or  a  banker  than  what  he 
world's   preeminent    theatrical    maestro — Max    Rein- 


is — the 
hardt. 

Also,  this  smallish  man  with  the  quiet  eyes  and  hair  looks 
like  a  man  of  forty  instead  of  the  sixty  that  he  is  And  there 
is  an  enthusiasm  that  rings  through  his  voice  which  sounds 
like  twenty  rather  than  forty. 

36 


To  Hollywood,  Reinhardt  is  the  man  of  promise. 

To  Reinhardt,  Hollywood  is  the  Land  of  Promise. 

"Hollywood,"  he  said,  "is  a  natural  garden  for  genius. 
Here  is  beauty  all  around — color  and  movement — nature  at 
its  richest.  Nowhere  else  in  the  world  is  there  such  an  artist's 
paradise.  Nowhere  is  there  such  an  easy,  delightful  place  in 
which  to  live  and  work.  And  Hollywood  is  a  community  en- 
tirely populated  by  artists  striving  to  express  themselves. 
Here  is  a  town  where  art  and  expression  are  the  most  im- 
portant thing.  And  it  is  attracting — with  many  here  now— 
the  artists  of  the  world." 

Coming  from  anyone  else,  it  might  well  sound  over-en- 
thusiastic, but  not  from  Max  Reinhardt.  He  can  rightly  say 
what's  what.  He  is  the  man  who  is  making  Shakespeare 
tasty  and  appealing  to  the  masses.  He  is  bringing  the  Bard- 
of-Avon  onto  the  screen.  That  is  something  no  man  has  ever 
dared  think  possible  before.  But  he  knows  his  stuff.  And 
Hollywood  knows  he  does  and  takes  his  opinion. 

A  few  years  ago  Reinhardt  brought  "The  Miracle"  to 
America  and  this  nation  hailed  him  as  the  master  of  spec- 
tacles. But  he's  much  more  than  that.  Thirty  years  ago  he 
modernized  and  humanized  the  theater.  For  three  decades 
he  has  been  the  master  producer  and  teacher  of  Europe. 

For  fifteen  of  those  thirty  years  he  has  resisted  Hollywood's 
lure,  being  discernible  on  the  screen  only  through  his  pupils — all 
of  whom  have  done  him  proud.  He  has  considered  the  screen 
not  ready  for  him  and  himself  not  ready  for  the  screen. 

But  now  in  Max  Reinhardt  lies  Hollywood's  newest  hope 
and  greatest  inspiration 


Reinhardt's  dramatic  school  in  Berlin  was  the  alma  mater 

of   practically   every   important   actor   on   the    Continent. 

In  fact,  it  was  the  proudest  boast  an  actor  could  make, 

"I've  studied  with  Reinhardt."    Lil  Dagover  was  one 


Master  Arrives 


By  Kirtley 
Baskette 


Max  Reinhardt,  stage 
genius,  is  the  man  of 
promise  to  Hollywood. 
To  him,  Hollywood  is 
the  Land  of  Promise 


Now  because  of  "not  just  talking  pictures, 
.it  talking  pictures  with  Shakespeare"  Max 
einhardt  has  come  to  Hollywood.  He  has 
jirned  his  talents  definitely,  hopefully  to  the 
reen.  He  has  signed  to  produce  his  famous, 
imitable  plays  and  spectacles  for  Warner 
:rothers,  the  first  of  which,  Shakespeare's  '"A 
lidsummer  Night's  Dream,"  is  already  in  pro- 
nction.  Reinhardt  is  making  his  picture  de- 
nt with  this  his  favorite  play,  because  it  was 
is  first  Shakespearean  stage  production — away 
jack  in  1905.  Recently  he  staged  it  in  the 
imous  Hollywood  Bowl  to  the  applause  of  the 
iitire  picture  colony. 

.  Reinhardt  has  no  ties  to  draw  him  back  to 
|ie  Berlin  he  made  famous  as  a  center  of 
lassie  drama.     A   hostile  government   has 
rowned  on  him,  confiscated  his  seven 
leaters,   every   bit   of  his  property,   every 


,J*Q$ 


Emil  Jannings  is  another  of 
the  "greats"  developed  by 
Reinhardt.  His  performance 
as  the  hunchback  in  "The 
Miracle"  resulted  in  his  Amer- 
ican screen  debut  and  many 
hits 


Elisabeth  Bergner  is  another 
pupil  of  Reinhardt's,  one  of 
his  greatest.  Now  being  ac- 
claimed on  the  London  stage, 
she  is  soon  to  be  presented 
on  the  New  York  stage 


Conrad  Veidt's  record  under 
the  heading  of  "stage  expe- 
rience," has  but  three  words, 
"Max  Reinhardt,  Berlin." 
Nothing  else  is  necessary.  Al- 
though he  has  appeared  in 
films  here,  he  is  better  known 
for  his  work  abroad 


penny  of  his  wealth.     Outside  of  his 

annual  festivals  in  Salzburg  and 

Florence,  he  has  nothing  to  draw  him 

back  to  Europe.    Of  course,  New  York 

will  claim  him  part  of  the  time — but  to 

him  Hollywood  is  Mecca. 

So  this  man  might  well  bring  about  a 

Shakespearean  revival  and  increase  our 

appreciation.     He  might  also  be  just  the 

one  to  give  the  movie  going  public  a  few 

healthy  doses  of  Shaw,  Ibsen, 

Moliere  or  Goethe  —  and 

make  us  like  it! 

About  Shakespeare,  Rein- 
hardt says,  "He  was  not — 
what  you  call  it — a  highbrow. 
He  did  not  write  for  the 
academician.  No!  He  was  a 
poet  of  the  people,  for  the 
masses.  Actually  everybody 
understands  Shakespeare. 

"And  the  screen  should 
not  look  to  the  stage  or  the 
poets  of  the  stage  for  its 
themes  and  material.  It 
should    reach    into    the    rich 


37 


"The  Lubitsch  touch"  has 
become  a  hallmark  of  merit, 
that  of  the  noted  director, 
Ernst  Lubitsch.  Yes,  another 
Reinhardt  graduate 


American  scene  for  the  life  that  is 
all  around  us.  There  is  ample 
material  in  that  life.  Dreiser's 
'An  American  Tragedy'  is  an 
example — something  that  actually 
happens.  When  this  life  is  trans- 
lated by  the  genius  of  a  great 
American  poet — then  Hollywood 
will  have  its  ideal  screen  mate- 
rial." 

"And  I  hope  to  bring  'A  Mid- 
summer  Night's   Dream'    to   the 
screen  even  more  effectively  than 
it  can  be  produced  on  a  stage — 
indoors  or  outdoors.  The  beauty  of 
the  screen  is  that  everyone 
can  be  in  the  second  row. 
Much  of  what  your  audience 
misses  on   the   stage,    they 
will  be  sure  to  see  on  the 
screen.     Of  course,   what   I 
am  afraid  to  lose  is  the  con- 
tact between  player  and  au- 
dience, the  reaction  and  coun- 
ter-reaction— that  is  what  I,  as 
as  the  director,  must  supply. 

"But  there  is  no  reason  why 
the  screen  cannot  present  a  play 
such    as    'A    Midsummer    Night's 
Dream'  better  than  the  stage.    First 
of  all,  it  is  a  poem  of  nature.    Love, 
poetry    and   nature   are   very   closely 
woven.    And  here  where  nature  is  at  its 
most  beautiful,  where  there  are  forests 


mountains  and  meadows  to  be  caught  by  the  camera—  I 
a  poem  should  be  twice  as  full  and  complete.  You  cannot  I 
ng  the  beauties  of  nature  to  a  stage — so  you  are  always : 
limited.  The  screen  should  be  ideal."  Reinhardt  paused! 
in  his  enthusiasm  for  a  note  of  caution,  "However,  it  I 
is  an  experiment." 

I  wondered  if  his  greatest  experiment  wouldn't  be 
with  Hollywood  actors.    Reinhardt,  you  know,  while 
securing  the  greatest  European  actors  for  his  Con- 
tinental productions,  has  always  had  about  him  a 
group  of  personally   trained   artists.     His  Rein- 
hardtschulc  in  Berlin  was  the  alma  mater  of  prac- 
tically every  important  actor  on  the  Continent. 
In  his  seven  theaters  in  Berlin  and  one  in  Vienna, 
almost  every  European  dramatic  artist  has  ap- 
peared. 

In  fact,  while  for  years  the  proudest  boast  an 
actor  could  voice  was  "Eve  studied  with  Rein- 
hardt," it  also  became  a  standing  joke  abroad— 
because  every  actor  claimed  the  distinction,  even 
though  he  had  merely  walked  backstage  in  a 
Reinhardt  theater! 

Here  in  Hollywood,  Max  Reinhardt  will  have 
to  do  what  any  other  director  has  to  do — cast 
from  the  large  group  of  Hollywood  actors — and 
shoot  with  them.  He  will  not  have  the  time  to 
train  them  to  his  methods. 

I  asked  him  if  he  intended  to  found  another 
Reinhardtschule  in  Hollywood. 

"No,"  he  replied,  "at  least  not  at  the  present 
time.  There  is  much  talent  here,"  he  smiled, 
"you  will  be  much  surprised.  There  will  be  some 
discoveries.     The  future  will  show." 

Max  Reinhardt  is  a  pioneer  by  instinct  and 
an  adventurer  at  heart.  He  is  sure  of  himself, 
daring  and  he  is  never  afraid  to  do  the  new 
or  unexpected.  f  please  turn  to  page  92  ] 


William  Dieterle,  after  nine 
years  under  Reinhardt  as  an 
actor,  then  turned  to  directing. 
He  is  here  as  Lysander  in 
"The    Dream" 


Mady  Christians  says 
she  couldn't  replace 
what  she  learned  in  her 
seven  years  with  Rein- 
hardt. "Even  now,"  she 
adds — star  that  she  is — 
"I  find  myself,  when  in 
doubt,  asking  how  he 
would  do  it" 


Across  the  desk  in  his 
office  at  Warners,  Rein- 
hardt looks  more  like 
the  successful  merchant 
or  banker  than  what  he 
is — the  world's  preem- 
inent theatrical  maes- 
tro. He  is  seen  here 
with  Jack  Warner 


38 


b 


#y 


■^■HB 


** 


Kenneth  Alexander 


"D  ONALD  COLMAN  is  soon  to  be  seen  as  that  fighting  romantic,  the  two- 
A ^fisted  conqueror  of  a  land  unconquerable,  "Clive  of  India."  With  him  in  the 
20th  Century  production  will  be  the  classic  Loretta  Young.  Colman's  role  is  the 
direct  result  of  his  sterling  performance  in  "Bulldog  Drummond  Strikes  Back" 


RUDY  certainly  can  make  the  girls  step!  One  lift  of 
the  baton,  and  they  go  around  in  circles.  Looks  like 
an  easy  job,  too,  and  Mr.  Vallee  seems  to  enjoy  it.  He  is 
putting  them  through  the  paces  in  his  latest  film,  "Sweet 
Music,"  for  Warner  Brothers.  Vallee  has  a  new  leading 
lady  in  this  picture — the  petite  brunette,  Ann  Dvorak. 
After  nearly  four  years  in  dramatic  roles  Ann  donned 
a  pair  of  dancing  shoes  for  her  first  lead  in  a  musical 


— 


THEY  made  no  mistake  when  they  cast  Ann  in  a  song 
and  dance  role!  Watch  her  step!  Rudy  looks 
pleased,  too.  Ann  was  a  dancer  long  before  she  was  a 
movie  actress.  For  a  year  she  danced  in  a  chorus,  then 
instead  of  giving  her  a  lead  role,  the  studio  promoted  her  to 
position  of  assistant  dance  director !  But  it  didn't  take  Ann 
long  to  get  back  in  front  of  cameras.  Many  insist  she 
and  Rudy  will  be  the  musical  team  sensation  of  the  year 


-JL 


Max  Munn  Autrey 


OAULETTE  GODDARD,  Charles  Chaplin's  leading  lady,  posed  for  the  very 
■*■  first  photograph  to  be  taken  on  the  set  of  the  forthcoming  Chaplin  picture, 
mysteriously  known  as  "Production  No.  5."  But,  it  is  not  a  scene  from  the  movie. 
Nothing  is  known  about  that,  not  even  whether  Chaplin  himself  is  going  vocal 


Mrs.  Pat  O'Brien  was  the 

lovely  Eloise  Taylor  whom 

the  late  Valentino  named  a 

prize-winning  beauty 


Though    it    took    Pat    five 

years  of  luck  and  pleading 

to  get  her,  they're  happily 

married  now 


He  Failed  For  A  Million 


S 


TAR  vanishes  in  Hollywood  for  three  years — and  makes 

a  million  in  the  movies! 

Sounds  crazy,  doesn't  it?     But  wait.     The  star  is  an 

Irishman.  One  of  those  six  foot,  divil-go-take-'em  sort 
of  fellows  who  are  born  with  Luck  for  a  middle  name  and 
Laughter  for  a  charm  piece.  Maybe  that  accounts  for  it.  If, 
faith,  there's  any  accounting  for  Patrick  O'Brien! 

He  has  lived  a  life  as  full  of  drama  and  strange  conundrums 
as  one  of  his  grandfather's  stories.  After  that  smash  hit  of  his 
in  the  screen  version  of  "The  Front 
Page"  people  asked,  "Where  is 
O'Brien?  Have  you  seen  O'Brien?  " 
No  one  had.  They  couldn't  know 
that  by  a  queer  Hollywood  twist, 
that  "hit"  had  nearly  killed  him 
professionally!  But  it  led  him  into 
making  a  fortune.  That's  the  way 
things  happen  to  him. 

From  the  time  he  was  born  in 
Milwaukee  on  Armistice  Day  — 
several  years  before  the  Armistice 


With  laughter   for  his 


was  signed,  of  course — Pat  has  magnetized  Fate,  in  one  form 
or  another,  into  doing  tricks  for  him. 

To  start  at  the  beginning — from  a  choir  boy  to  chorus  boy 
is  a  long  step.  But  in  between  Pat  was  a  sailor.  That  helped. 
He'd  stretched  the  truth  about  his  age  to  the  recruiting  officer, 
done  a  two  year  turn  on  the  deck  of  a  battleship  and,  the  war 
over,  he  had  stridden  down  Broadway  prepared  to  give  Hamlet 
a  break. 

"Hamlet!"  snorted  a  theater  manager.    "Go  take  the  straw- 
out  of  your  hair!" 

"That,"  said  Pat  with  dignity, 
"is  not  straw.  It's  what  is  left  of 
the  hey-hey  from  my  sailor's  horn- 


luck  piece  O'Brien  has 
a  philosophy  that  can 
beat  the  Hollywood  jinx 

By  Jerry  Lane 


pipe!"  So  they  put  him  in  the 
chorus.  At  the  same  time,  down 
the  street  in  another  show,  was  a 
redheaded  hoofer  by  the  name  of 
Jimmy  Cagney. 

It  was  the  ostrich  feathers  that 
did  it  really.     They  provided  cos- 

[  PLEASE  TURN  TO  PAGE  90  ] 


c 


aro 


l,Wally 


an 


dM 


e 


This  story  is  a  most 
unusual  human  docu- 
ment ;  a  foster  mother 
telling  of  her  affec- 
tion for  an  adopted 
child,  and  of  the 
foundation  of  past  memories 
upon  which  that  affection  is  built. 
Mrs.  Beery  is  a  retiring  person, 
seldom  seen  in  the  limelight  which 
so  surrounds  her  famous  husband, 
the  motion  picture  star.  This 
fact  lends  even  more  interest  to 
this  recital. — Editor's  Note. 


By  Mrs.  Wallace  Beery 


In  a  city  of  triangles,  there  is 
no  threesome  happier  than  the 
united    in    affection 


Beerys 


CAROL  ANN  has  filled  the  only  gap  that  was  in  our 
lives,  Wally's  and  mine.     Her  coming  into  our  house- 
hold has  meant  far  more  to  me  than  I  am  able  to 
express.   From  the  moment  I  had  her  intrusted  into  my 
care  I  loved  her,  and  was  hardly  able  to  believe  my  good  fortune. 
Watching  her  fuss  around  as  she  was  getting  ready  to  go  to 
lunch  with  Wally  at  the  Vendome  one  day,  it  struck  me  how 
much  her  excitement  compared  with  similar 
scenes  in  my  childhood.     She  tried  on 
several  dresses  before  she  decided 
which  one  was  just  right.    She  is 
very  particular,  tiny  tot  that 
she  is.     All  her  colors  must 
match — especially  if  she's 
going  with  her  Daddy. 


Wally  is  more 
than  a  hero  to 
Carol  Ann.    He  is 
a  demi-god  whom 
she   worships. 
What  a  pair  they  make  as 
they  walk  along  —  he  huge 
and  bulky — she  tiny,  tagging 
along.    And  he  is  so  proud  of 
her!     Actually,  he's  a  bigger 
kid  than  she  is.     I  call  the 
pair  of  them  my  two  children. 
Her  most  vivid  recollection 
doubtlessly  will  be  of  Wally  at  the  controls  of  his  aeroplane 
flying  her  to  Palm  Springs  over  the  week-end.    For  the  aero- 
plane today  holds  all  the  glamour  and  romance  for  children 
which  the  train  held  for  youngsters  a  generation  or  so  back.    I 
can  remember  how  my  father  was  just  as  much  a  hero  to  me  as 
Wally  is  to  Carol  Ann.    He  was  a  crack  engineer  on  the  Balti- 
more and  Ohio  railroad.    There  were  three  children,  and  how 
we  would  prepare  to  meet  him  at  lunch!    The  house  was  the 
scene    of   no    end    of    excitement    as    our    blessed 
mother  would  stand  before  the  stove  and  fry 


The  Beerys  at  home:  Wally,  the  hero, 
Rita,  the  mother,  and  baby  Carol  Ann. 
Carol  Ann  isn't  really  as  bashful  as  she 
looks  here.  But  she  isn't  used  to  having 
strange  cameramen  invade  the  privacy 
of  her  quiet  home 


u 


chicken.  When  it  was  done  she 
would  pack  it  in  a  big  pail  along 
with  other  delicacies,  and  we'd  go 
down  to  the  station  proudly  carry- 
ing the  pail  between  us. 

We  would  be  scrubbed  and 
dressed  in  our  very  best,  and  be 
waiting  there  as  the  train  pulled  in. 
Then  when  Dad  got  his  orders  from 
the  station-master,  he'd  swing  off 
the  train,  and  we'd  open  up  the 
lunch  and  help  him  eat  it.  If  the 
station-master  didn't  happen  to  be 
around,  Dad  would  take  us  for  a 
ride  on  his  engine.  We  were  won- 
derful friends,  my  father  and  I — 
and  still  are  to  this  day.  He  never 
comes  to  see  me  without  bringing 
some  little  token  of  love,  if  it's  only 
a  sack  of  fruit. 

This  same  bond  exists  between 
Wally  and  Carol  Ann.  And  when 
Wally  wanted  to  fly  her  down  to 
Palm  Springs  I  was  delighted.  I 
recalled  how  thrilled  I  was  when 
my  Dad  took  me  for  rides  in  his 
i  train  engine.  And  I  wanted  to  see 
Carol  Ann  have  that  same  wonder- 
ful understanding  with  her  Daddy 
as  I  had  with  mine.  There  is  no 
greater  thing  in  the  world. 

Carol  is  drawn  to  me  by  the  ten- 
derest  of  bonds.  She  is  a  priceless 
legacy  left  from  my  mother's  half- 
sister,  and  lifelong  playmate, 
Juanita.  As  she,  a  young  woman 
in  her  early  thirties,  lay  on  her 
death-bed,  she  whispered  that  she 


Heap  big  chief,  and  papoose.  After  see- 
ing "Viva  Villa,"  Carol  Ann  wanted  to 
play  Indian.  The  Beerys  have  a  Mexican 
sunroom,  so  with  a  couple  of  Indian 
blankets,  Wally  and  Carol  had  a  perfect 
setting 


wanted  to  leave  something  to  me — 
it  was  her  dearest  possession,  her 
baby  Carol  Ann,  then  nine  months 
old.  Carol  Ann  had  two  brothers 
—George  now  twelve  years  old 
and  Billy  six,  who  live  with  their 
grandmother,  but  who  often  come 
to  play  with  their  little  sister. 

The  day  after  Juanita's  funeral, 
I  had  a  talk  with  her  husband.  I 
pointed  out  that  raising  a  little 
girl  alone  was  a  great  responsi- 
bility. Without  even  saying  a 
word  to  Wally,  I  told  him  that  I 
would  raise  Carol  Ann,  and  showed 
him  a  letter  wherein  her  mother 
requested  I  do  so.  He  agreed 
that  perhaps  it  was  best  that  I 
should  raise,  educate  and  give  her 
a  real  mother's 


Carol  Ann's  a  great 
talker.  Here  is  her 
Daddy  making  an 
electrical  recording 
of  one  of  her  very 
first  speeches.  It  was 
a  good  speech,  too, 
says  Wally 


care. 

Wally  and  I 
were  in  the 
midst  of  re- 
modeling our 

[  PLEASE   TURN 
TO  PAGE  115  ] 

45 


THEY  sat  side  by  side  on  a  straight  little  sofa  in  a 
producer's  waiting  room — Charlie  Ruggles  and 
Mary  Boland,  that  popular  comedy  team  of  the 
screen.  Charlie  twirled  his  round  little  hat,  his 
dimples  nervously  popping  in  and  out  like  a  pair  of  Jack- 
in-the-box  as  he  stole  little  side-wise  peeks  at  Mary, 
silting  so  straight,  so  determined,  with  a  decided  no- 
monkey-business  air. 

Across  the  room,  a  blonde  secretary  sat  behind  a  desk 
filing  a  long,  gory-looking  nail.  Occasionally  a  Hash  of 
crimson  shot  through  the  air  as  her  manicured  hand  flew 
to  a  stray  curl  over  an  ear. 

The  silence  grew  thick  and  clingy  like  fungus  on  a  bat 
tered  oak  tree. 

"Hum-umm."  Charlie  suddenly  cleared  his  throat 
and  Mary  jumped. 

"Don't  do  that,"  she  protested.  "It's  enough  to 
shatter  my  nervous  system." 

"I — I  can't  help  it  if  1  have  a  frog  in  my  throat,  can  1? 
I've  got  to  get  it  out,  haven't  I?" 

"Charlie,  you  could  be  full  of  frogs  for  all  I  care.  In 
fact,  the  way  you  keep  jumping  around  it  wouldn't  Mir 


Domestic  rifts  like  Mary's 
and  Charlie's  happen  in  the 
best   of   screen    families 

By  Sara   Hamilton 


Proof  that  mama  loves  papa — even  if  she  did  want  him  to 

wear  a  horse-shoe  charm  around  his  neck  and  curl  up  his 

hair  like  Francis  Lederer.    The  producer  couldn't  believe 

ma  and  pa  had  tired  of  each  other 


It's  incompatibility.     Charlie  has  a  ranch  where  he  raises 

nuts  and  grapefruits.    His  pet  is  a  Great  Dane.    He  craves 

quiet,  peaceful  evenings  at  home 


prise  me  in  the  least  if  you  were."     Mary  glared  at  him. 

Charlie  squirmed  about  uneasily. 

"Quit  fiddling,"  Mary  snapped. 
"Can  I  help  it  if  I  have  to  fiddle?"  Charlie  demanded. 

"Well,  you  don't  have  to  fiddle  here.  There's  a  time 
and  a  place  for  fiddling.    This  isn't  it." 

The  blonde  secretary  glanced  witheringly  at  the  sound- 
ing buzzer  on  her  desk.  With  a  sigh  she  threw  down  the 
nail  file,  yanked  at  her  stocking,  patted  the  curl  again 
and  disappeared  through  a  door  marked  PRIVATE.  In 
a  few  seconds  she  was  back. 

"The  producer  will  see  you  now.     Gwan  in,"  she  said. 

Mary  and  Charlie  rose.  Charlie,  at  the  door,  tripped 
over  Mary's  feet  and  fell  headlong  into  the  astonished 
producer's  lap. 

"It's  the  hop  toad  in  him,"  Mary  explained.  "He 
leaps  before  he  looks." 

"  Well,  this  is  indeed  a  pleasant  surprise,"  the  producer 
smiled  when  Charlie  had  regained  his  balance  and  his  hat. 
"What  can  I  do  for  you  this  morning?"  He  fairly 
beamed  on  the  screen's  greatest  corned}'  team.  A  team 
that  brought  many  golden  shekels  into  an  undernourished 
box-office. 

It  was  Man-  who  spoke  first.  In  firm,  clear  tones  she 
said,  "We  want  a  divorce." 

The  pencil  leaped  six  feet  out  of  the  startled  producer's 
hand  and  landed  at  his  feet.  The  producer  stooped  and 
Charlie  stooped,  their  heads  meeting  with  a  thud. 


!>C> 


Divorce 


11 


dry  can't  see  it.     She  has  a  garden  and  raises  Sweet 
VHams.     Her  pet  is  a  Pekingese.      She  wants  music, 
song,  gaiety.    Besides,  Charlie's  unromantic! 


I  Do  you  have  to  knock  him  unconscious  before  we  get 
Hi  matter  settled?"  Mary  stage-whispered  at  Charlie 
ween  clenched  teeth.  "Can't  you  wait  till  it's  all 
rJ  Business  before  pleasure,  remember." 
Charlie  merely  rubbed  his  head  in  a  daze.  The  pro- 
Ijjer  gulped  and  swallowed  with  surprise,  his  mouth 
ifning  and  shutting  like  that  of  a  fish.    Unable  to  say  a 

¥■ 

I\  ou— you  want  a  divorce?  "  he  finally  gasped.    "  You 
t  want  to  be  ma  and  pa  on  the  screen?     But — but 
■?" 
Well,  she  says  I'm   funny  looking  for  one  thing!" 
trlie  said. 

;  I  only  said  if  he  had  'it'  he  got  'it'  too  late.    Much  too 
*.    Besides,"  said  Mary  taking  out  her  handkerchief, 
harlie  isn't  fascinating  like  Francis  Ledercr." 
he  producer  looked  at  Charlie  accusingly. 
Couldn't  you  be  a  little  more  fascinating?"  he  asked. 
Well,  doggone  it,   I   can't   be  fascinating  like  that 
I'uncing  Czech.'    I  tried  it  and  I  got  water  on  the  knee, 
i  omething,"  Charlie  explained.     "  I— I" 
i  ^ou  see,  he  doesn't  even  try,"  Mary  wept  into  her 
'  dkerchief.    "The  day  I  brought  my  hair  curler  to  the 
i  ho  and  offered  to  curl  his  hair  in  darling  little  ringlel  s 
over  his  head  like  Mr.  Lederer's,  he  made  a  terribb 


Why,  Mr.  Ruggles!"  exclaimed  the  producer. 
1  Jn'sed  at  vou!" 


Charlie  hung  his  head  but  then  suddenly  he  brightened. 
"Well,  I   wore  a  charm  for  her,  didn't  I?" 

"But  you  wouldn't  keep  it  on,"  Mary  complained. 
"You  see,  that  lovely  Mr.  Ledercr  (Charlie  moaned) 
always  wears  a  good  luck  charm  around  his  neck  and 
Charlie  never  had  anything  glamorous  around  his  neck 
except  his  Adam's  apple  and  there's  nothing  glamorous 
about  that.  So  I  persuaded  him  to  wear  a  darling  little 
charm,  too." 

"Well,  1  tried  to  wear  it,  didn't  I?  Only  the  darn 
thing  gave  me  lumbago  and  gangrene  of  the  epiglottis." 

"Charlie,  don't  be  vulgar,"  Mary  snapped. 
"What   was  the  charm  she  gave  you?"  the  producer 
asked. 

"A  horse  shoe,"  Charlie  groaned,  "with  all  the  nails 
left  in.  When  I  stooped  over,  it  took  two  electricians  to 
help  me  up.  If  that's  what  it  takes  to  make  a  Francis 
Lederer  out  of  me,  I  don't  want  it.  I  want  a  divorce, 
too." 

"Besides,"  said  Mary,  "we're  incompatible.  He  has  a 
Oreat  Dane  and  I  have  a  Pekingese."  A  slight  hiss 
excaped  Charlie's  lips.  "Then,  loo,  he  lives  on  a  ranch 
and  I  live  in  Beverly  Hills.  He  raises  grapefruit  while  I 
raise  Sweet  Williams." 

"And  what  else  do  you  raise?"  the  producer  asked 
Charlie. 

"Nuts,"  answered  Charlie. 

"And  nuts  to  you,"  Mary  cried.  "Besides,  people 
think  when  they  see  us  on  the  screen  together  all  the 
time,  we're  romantic  off  the  screen.  I  never  see  Charlie 
off  the  screen.    Life  is  hard  enough." 

"  \onsense,  I  don't  believe    I  PLEASE  TURN  to  PAGE  97  1 


'I'm 


The  rift  only  widened  when  Charlie  donned  earrings  and 
wore  a  mustache.    He  still  didn't  look  like  a  hero  to  Mary. 
And  Charlie,  the  old  meany,  just  scowled  at  Mary  when 
she  got  Little  Bopeepish,  crook  and  all 

'J 


Margaret  Sullavan 
is  all  dressed  up 
here,  just  before 
she  became  the 
bride  of  William 
Wyler,  with  her. 
But  for  the  cere- 
monies at  Yuma, 
Margaret  went 
right  back  to  slacks. 
And  William  thinks 
they  are  one  of  his 
wife's  best  points 


Edward  G.  Robinson 
is  a  camera  bug.  He 
can't  take  a  shot  or 
leave  it ;  he  has  to 
take  it.  And  nobody 
is  safe  from  him.  He 
bobs  up  everywhere, 
taking  candid  pic- 
tures. From  the  ex- 
pression on  the  face 
of  Jean  Arthur,  this 
one's  a  honey 


This  is  the  handsome 
young  buckaroo  who 
has  claimed  all  the 
attention  of  Sally 
Eilers  lately.  He's 
Harry  Joe  Brown,  Jr. 
But  now,  Junior  has 
given  his  mother  per- 
mission to  return  to 
the  screen,  and  you'll 
see  her  again  soon  in 
"Carnival" 


A    COUPLE  of  Hollywood  actors 
were  having  a  feud. 
"Why  don't  you  tell  that  other  fel- 
low what  you  think  of  him  and  get  it 
over?"  Bob  Montgomery  asked. 

"I  can't,"  was  the  answer,  "the 
cad  has  no  telephone." 

LR 


A/f AURICE  CHEVALIER  came  back  from 
Europe  with  a  lot  of  suits  you  can  hear 
coming  through  the  front  gate  at  M-G-M. 
Bob  Montgomery  is  positively  green  with 
jealousy  and  has  gone  into  retirement  until 
he  can  find  some  checks,  plaids  and  scarfs 
louder  than  Chevalier's. 


p()R  years  and  years  Alan  Hale  played  o 
meany  heavies  until  it  was  discovered  th. 
he  has  a  nice  kind  face  and  can  also  sing.  1 
acts,  too,  as  you  may  have  noticed.  He  r 
marked  the  other  day,  "I  did  get  so  tired 
being  in  wolf's  clothing.  Why,  it  got  so  that 
was  hiding  my  own  wallet  from  myself!" 

Ayf  AY  ROBSON  was  on  location  in  a  sma 
California  oil  town.     She  was  wearing 
Salvation  Army  bonnet. 

At  noon,  May  walked  into  a  lunchroom,  s;, 
on  one  counter  stool  and  put  her  S.  A.  chapca 
on  the  other.  She  was  hungry,  and  attende 
to  the  business  of  eating. 

When  finished,  she  hopped  down  off  th' 
stool  and  reached  for  her  hat.  As  she  prt 
pared  to  don  it — a  quarter  fell  out. 

May  is  saving  it  as  a  souvenir. 

^OOD  digestion — at  any  price. 

Which  is.  the  current  motto  of  Jimm 
Cagney  and  Pat  O'Brien.  Jimmy,  who  ha 
had  recurrent  trouble  with  indigestion,  firs 
hit  on  the  idea — and  then  Pat,  his  side-kick 
took  it  up. 

So  now  you  see  both  tripping  to  work  carry 
ing  an  old-fashioned  tin  lunch  pail,  compld 
with  sandwiches,  salads  and  cold  cuts,  a! 
home  prepared,  in  one  hand — and  a  thermc 
bottle  in  the  other. 

Each  noon,  they  find  a  clear  spot  behind  ; 
set  prop — and  swap  sandwiches  that  arcn' 
the  restaurant  brand. 

Incidentally,  they  don't  get  tired  out  writ 
ing  autographs  in  the  studio  commissary. 

Y\7T<  imagine  a  deep-sea  vacation  with  Lf 
Tracy  and  Jimmy  Durante  on  Lee' 
boat,  will  be  something  to  write  home  about' 
They  are  after  big  fish  in  the  Mexican  waters- 
but  the  tuna  will  probably  die  laughing 
There  are  three  boats — the  big  mama  boat, ; 
small  sailboat  to  go  out  and  capsize  in— and  i 
dory  to  rescue  the  capsizers.  Full  equipment 
you  might  say. 


/  LENDA  FARRELL  made  her  last  pay- 
''ment  on  her  San  Fernando  Valley  home — 
ajl  celebrated.  A  rather  unique  celebration. 
Evas  a  trunk-burning  party.  A  big  old  bat- 
ted wardrobe  trunk  went  up  in  smoke,  and 
tinda  remarked,  " It  isn't  everybody  who  can 
5(nd  and  watch  her  home  for  many  years 
brning  to  the  ground,  and  smile  about  it!" 


A 


LICE  BRADY  instructed  her  maid  to  tell 
a  certain  gentleman  if  he  phoned  that  she 
re  in  the  bath,  as  she  didn't  wish  to  speak 
tpim.  The  gentleman  phoned  and  the  maid 
Mowed  instructions.  After  half  an  hour  he 
F>ned  again  and  got  the  same  answer.  A 
t  rd  time  he  phoned  with  the  same  result. 
Finally,  in  exasperation,  he  yelled  over  the 
v  e  : 

Well  maybe  she's  drowned  by  this  time. 
Vy  don't  you  go  see?" 

IS  Beverly  Hills  telephone  calls  poured  into 
he  police  station  from  frantic  mothers  saying 
U  their  children  hadn't  returned  from  school 
fl  auto  patrol  set  out  to  trace  the  missing 
:ldren.  Suddenly  the  officers  heard  loud 
}|ling  and  laughter  coming  from  the  back- 
ed of  a  newly  occupied  house. 
:  Who  lives  here?"  demanded  the  officer 
';:n  the  maid  answered  the  door. 

Jackie  Cooper,"  was  the  answer,  "He's  got 
ri  rly  a  hundred  kids  in  the  back  yard  helping 
In  build  a  new  shack.  He  says  if  they  work 
!  d  enough,  he'll  let  them  be  in  his  club." 

J  EMEMBER  the  grand  old  ostrich  plumes 
,of  mother's  time?  They  must  be  coming 
1  k-  At  least  Jeanette  .MacDonald  is  setting 
I  llywood  on  its  ear  by  appearing  at  all  the 
i.irt  spots  in  a  chapeau  dripping  with  plumes. 
,  Well,"  sniffed  one  little  meanie  when  she 
|apsed  the  MacDonald  ostriches,  "if  I  had 
\  wn  it  was  a  costume  party  I'd  have  dressed 
myself." 

:  'o  which  several  bystanders  echoed, '  Meow, 
\  w."    Jeanette  only  smiled. 


The  son  and  heir  of 
Joan  Blondell  and 
her  husband,  cam- 
eraman George 
Barnes,  is  not  going 
tempera  mental, 
he's  merely  hungry. 
Joan  is  certainly 
proud.  George 
wonders  where  that 
volume  from  such  a 
tiny  bit  of  humanity 
can  come 


V/TAYBE  M-G-M  will  have  to  go  in  the 
house-boat  business.  Up  on  the  beach  in 
Ventura  is  Pcggoty's  house,  built  in  a  boat 
turned  bottom  up.  It  was  constructed  for 
scenes  in  "David  Copperfield,"  but  the  studio 
has  received  a  dozen  offers  for  it  from  persons 
who  want  to  use  it  for  a  beach  cottage. 


They  may  be  fan 
dancers,  but  they  are 
not  to  be  whoopsed 
at.  Decidedly  not! 
They  represent  four 
hundred  pounds  of 
football,  boxing  and 
stevedoring,  all  set 
for  some  burlesquing 
in  Rudy  Vallee's  pic- 
ture, "Sweet  Music," 
for  Warners 


Bronislava  Nijinski, 
widow  of  the  noted 
dancer,  discusses 
details  of  the  forth- 
coming ballet  in  Max 
Reinhardt's  produc- 
tion of  Shakespeare's 
''A  Midsummer 
Night's  Dream." 
Screen  history  is  in 
the  making  with  this 
movie.  Watch  it! 


|_JE\TRY  HULL  has  been  made  a  Kentucky 

1 'LColonel. 

But  here  is  what  makes  it  unusual: 

Henry  Hull  actually  came  from  Kentucky! 

Louisville. 
Most   of    Governor   Ruby    Laffoon's    staff 

officers  never  sniffed  bluegrass  in  their  lives. 


/,Q 


THE  aura  of  mystery  which  surrounds  the 
romances  of  Greta  Garbo  conjures  up  all 
sorts  of  wild  guesses  as  to  what  a  suitor 
does  to  woo  the  lady  nobody  knows. 

Well — I  was  riding  down  the  Coast  highway 
a  Sunday  or  so  ago  and  almost  bumped  into  a 
small  flivver  coupe  turning  around  in  the 
middle  of  the  road.  George  Brent  was  at  the 
wheel  and  beside  him  was  a  lady  with  a  hat 
pulled  very  far  down  over  her  face,  but  not  far 
enough  to  disguise  that  famous  face. 

For  five  miles  or  more  my  rear-view  mirror 
revealed  the  pair  of  lovers  coasting  along,  even 
as  you  and  I,  and  sniffing  the  salt  air.  Finally. 
Mr.  Brent  and  his  lady  pulled  off  to  the  side 
and  parked  to  watch  the  wild  waves — hand  in 
hand. 

Love  is  grand — but  its  manifestations  are 
not  very  different  in  the  case  of  Garbo  and  the 
rest  of  the  world. 

A  Sunday  afternoon  drive  in  a  flivver.  A 
silent  parking  to  watch  the  sea  together. 
What's  mysterious  about  that? 

■^"AT  PENDLETON  was  telling 
Charles  Butterworth  about  un- 
expectedly meeting  his  old  school- 
days' sweetheart  in  Hollywood. 

"Boy,  I  hadn't  seen  her  in  twelve 
years,"  Nat  said. 

"Has  she  kept  her  girlish  figure?" 
Charlie  asked. 

"Kept  it?"  Nat  exploded.  "Why, 
man,  she's  doubled  it." 

TTHE  most  exciting  lot  in  town,  at  the 
moment,  is  Warners,  what  with  Reinhardt 
and  Marion  Davies  moving  in.  The  German 
contingent,  consisting  in  the  main  of  Rein- 
hardt, Korngould,  Heinrich  Blanke  and 
William  Dieterle,  plus  any  number  of  fellow 
associates,  have  practically  taken  over  the  lot. 
Some  of  them  bring  their  wives,  they  sputter 
German  by  the  yard,  and  there  is  a  general  air 
of  bustle  and  activity. 

One  of  the  sights  of  the  place  is  the  enor- 
mously tall  and  shaggy  Dieterle,  in  his  white 
cotton  gloves  (once  he  contracted  an  infection 
in  his  hand  while  directing  a  picture,  and  ever 
since  he  has  worn  the  gloves),  striding  down  the 
causeway  with  little  Blanke,  about  five  feet 
high,  both  gesticulating  wildly  and  hurling 
German  at  each  other. 

To  make  things  more  involved,  the  official 
interpreter  doesn't  speak  English! 


Mr.  and  Mrs.  Wairen  William  were  among  the  many  celebrities  present  at 

the  Screen  Actors'  Guild  annual  ball.  This  is  a  rare  picture  in  that  neither 

Mr.  nor  Mrs.  William  goes  in  for  a  great  deal  of  social  activity,  both  being 

strong  for  a  quiet  home  life 


Which  is  Bill  and  which  is  Jimmy  Cagney?  They  are  alike  enough  to  be 

twins !  Anyhow,  we'll  do  the  traditional  left  to  right  and  you  can  see  whether 

your  guess  was  right:  Mrs.  Bill  Cagney  (Boots  Mallory),  Phil  Regan  (rear), 

Bill,  then  Mrs.  and  Mr.  Jimmy  Cagney 


Mrs.  Robert  Montgomery  (left)  and 
Mrs.  Chester  Morris  find  a  good 
laugh  in  what  Chester  Morris  is 
saying.  But  Robert  seems  to  be  far, 
far  away  for  the  moment.  They 
formed  one  of  the  foursomes  at  the 
Screen  Actors'  Guild  ball,  a  sea- 
sonal highlight 


A  LAN  HALE  actually  proposed  to  his  \ 
Gretchen    Hartmann,    twenty  years 
while  they  were  making  a  love  scene  in  si ; 
pictures. 

"D  ETTY  FURNESS  carries  a  small  com 
in  her  compact.    Well,  a  girl  likes  to  k 
where  she  is,  doesn't  she? 

/"WROL  ANN  was  so  lonesome  to  sec 
^^papa  that  she  hopped  on  a  commei 
plane  and  went  to  San  Antonio,  where  1> 
now  on  location  for  "West  Point  of  the  J 
Of  course,  Mrs.  Beery  was  with  her. 


-,() 


Joan  Crawford  and  her  almost  inseparable  companion  and  leading  escort, 

Franchot  Tone,  were  table  companions  with  Helen  Hayes  at  the  Screen 

Actors'  Guild  ball.    It's  a  safe  guess  Joan  is  telling  about  further  plans  for 

her  pride  and  joy,  her  little  theater 


'""PHEY   were   making   a   scene    in 

"Mississippi"  where  W.  C.  Fields 

enters,  takes  a  drink  from  a  mint 

julep  glass  and  does  a  bit  of  dialogue. 

After  several  false  starts,  what 
seemed^to  be  a  perfect  scene  was 
run  off.  However,  Director  Eddie 
Sutherland  waved  his  hand  in  nega- 
tion. "No  good,"  he  proclaimed, 
"Bill,  you  forgot  to  take  a  drink." 

Fields  recoiled  as  if  indicted  with 
a  horrible  crime.  "Impossible!"  he 
exclaimed. 

"Yes  you  did — "  said  the  director. 

"Well,"  said  Bill  in  a  dazed,  weak 
voice,  "it's  the  first  time  I  ever  forgot 
to  do  that." 

Y\  TELL,  you  will  have  to  admit  that  little 
*^  Shirley  Temple  is  doing  all  right  when  sh< 
rates  Lionel  Barrymore  as  her  co-star.  The 
picture  is  "The  Little  Colonel,"  which  you 
adored  when  you  were  ten,  and  Shirley  makes 
her  first  appearance  in  pantalettes.  Bill  Rob- 
inson, who  must  have  invented  tap-dancing 
(he  taught  all  the  famous  dancers  their 
routines),  will  appear  in  the  picture. 

f^RACE  FORD,  pretty  dancing  teacher. 
^Jtook  two  of  her  child  pupils  to  the  Warner 
casting  director.  Max  Arno.  He  looked  them 
over  and  announced,  "  I  can't  use  the  children 
— but  how  would  you  like  a  contract?" 

Grace  is  playing  her  first  part  in  "Mid- 
summer Night's  Dream."  But  here  is  tin 
part  of  it  that  no  one  except  a  certain  passer 
by  knows.  In  sheer  exhuberance,  Grade 
wanted  to  dance  for  joy.  The  only  place  sh< 
could  find  which  was  not  public,  was  a  table 
top  in  the  prop  department,  where  she  exe- 
cuted a  Spanish  fandango'  (Ah.  ah.  Gracie! 
You're  in  pictures  and  nothing  is  secret  now! 

TD ICHARD  DIX  turned  down 
-^-forty-six  thousand  dollars  of- 
fered him  to  appear  in  a  shirt  adver- 
tisement, so  you  can  imagine  the 
consternation  when  his  picture 
and  endorsement  appeared  in  the 
publicity  of  a  new  tea. 

His  manager,  suspicious,  asked 
him,"Didyou  really  endorse  this  tea?" 

"Endorse  it?"  shouted  Richard. 
"I  own  it!" 

[  PLEASE  TURN  TO  PACE  86  ] 


Could  two  girls  show  greater  admir- 
ation of  husband  or  boy  friend? 
Petite  Alice  White  smiles  up  at  hus- 
band Cy  Bartlett  (left)  and  Isabel 
Jewell  puts  that  certain  something 
into  her  smile  for  Lee  Tracy.  They 
made  up  one  of  the  jolliest  Guild 
parties 


PVELYN  LAYE  worked  until  seven  A.  M. 
when  "The  Night  Is  Young"  was  finished. 
She  stayed  awake  just  long  enough  to  get  to 
Santa  Barbara  where  she  slept  for  two  days 
without  a  quiver. 

"DERT  WHEELER  gave  his  little 
girl  a  dime  for  charity,  but  she 
invested  it  in  a  soda  instead.  When 
papa  questioned  the  investment,  the 
young  lady  informed  him,  "It  goes 
twice  as  far  this  way — I  give  it  to  the 
soda-jerker,  and  he  can  give  it  to 
charity!" 


Dick  Powell  was  just  about  tops  as  squire  at  the  Screen  Actors'  Guild  ball 

in  that  he  escorted  not  one  but  two  charming  ladies.    On  his  sturdy  right 

arm  was  Mary  Brian,  as  was  to  be  expected,  while  on  his  left  was  Mrs.  Joe 

E.  Brown.   Joe  E.  was  home  with  laryngitis 

51 


tt£fr 


^il 


EVERY  woman,"  said  Miss  Davies,  concentrating  on  a 
silky  ear  of  her  almost  inseparable  companion,  Gandhi 
the  dachshund,  "Every  woman  should  decide  what  is  her  one 
most  sincere  ambition — most  sincere,  not  necessarily  her 
highest.  Then  she  should  attempt  to  fulfill  it,  before  she 
tries  anything  else."  At  the  right,  is  the  music  room  of  the 
Warner  star's  gorgeous  home  at  Santa  Monica,  which  faces 
on   the  inspirational  surge  of  the  Pacific,   within   hearing 


bJi 


Marion  Davies' 
Secrets  of  Success 


M 


human  being  we  can. 


—  and  help  others  to  live 
As  told  to  William  P.  Gaines 


N  many  ways   Marion 

Davies  is  one  of  the  most 

remarkable  women  of 
I  this  age,  and  she  was 
liking  about  success.  Once 
le  knew  poverty;  now  she 
;  said  to  be  the  wealthiest 
|oman  in  Hollywood.  Once 

te  was  considered  hopeless 
an  actress.  But  she 
tablished  herself  as  a  brilliant  comedienne  and  then  proved 
lat  she  could  handle  dramatic  roles.  Once  she  was  a  nobody — 
)  far  as  the  world-at-large  was  concerned.  Now  she  is  known 
i  every  corner  of  the  world,  and  she  is  called  the  most  popular 
'•oman  in  the  place  where  most  of  the  world's  movies  are  made. 
i  "  Girls  are  always  asking  me, '  Miss  Davies  (for  it  was  Marion 
Lvies  doing  the  talking),  can't  you  tell  me  how  to  get  along?' 


— jirow  into  the  best  sort  of 


Live 

11 


"Some  have  asked  me  if  I 
could  give  them  six,  ten, 
twenty,  or  any  number  of 
rules  to  live  by. 

"And  I've  had  to  reply, 
tritely  but  truthfully, 
'There  isn't  any  certain 
number  of  rules  for  living 
that  apply  to  all  individuals 
alike — that  will  steer  any- 
one through  all  the  circumstances  that  arise  in  a  lifetime.' 

"But  I'll  tell  you  what  I've  told  a  lot  of  those  girls.  There 
are  some  policies  that  won't  do  any  woman  any  harm  at  any 
time.    So,  if  you  want  to  hear  them,  here  goes: 

"Every  woman  should  decide  what  is  her  one  most  sincere 
ambition  in  life,  and  then  she  should  attempt  to  fulfill  it,  before 
she  tries  anything  else. 

"Please  notice,  I  said  most  sincere;  not 
necessarily  her  highest  ambition.  Every 
young  girl's  head  is  full  of  a  lot  of  conflicting 
ambitions,  day-dreams,  and  what  we  used  to 
call  the  'natural '  feminine  urge.  The  natural 
urge,  in  days  gone  by,  was  to  marry  the  boy, 
settle  down,  and  make  a  home.  But  the 
world  has  changed.  Today  it's  just  as 
natural  for  a  girl  to  want  a  career.  Nine- 
tenths  of  the  girls  probably  think  they'd  love 
to  be  movie  stars — not  knowing  what  it 
takes  to  get  to  be  one.  Of  course,  the  huge 
majority  of  them  would  be  more  comfortable 
in  business,  or  as  housewives.  And  I  believe 
most  of  them  know,  deep  down  inside,  which 
of  their  ambitions  are  inspired  by  hopeless 
yearnings,  and  which  one  is  substantial. 

"Well,  if  a  girl  sincerely  believes  she  can 
become  an  actress  some  day,  or  a  cabinet 
member,  I  say  it  is  foolish — almost  criminal 
— for  her  to  marry  some  young  chap  and  try 
to  keep  up  his  suburban  bungalow.  That 
way  her  discontent  can  ruin  two  lives.  The 
other  way,  if  she  fails,  she  has  wasted  only 
one  life,  and  there  is  some  inner  glow  from 
a  try  that  was  genuine. 

"All  right.  Once  a  girl  has  decided  what 
she  wants  to  do,  I  think  she  should  then  and 
there  reconcile  herself  to  any  sacrifices  she 
may  have  to  make  to  achieve  her  goal.  If 
she  has  married  the  boy,  her  goal  is  domestic 
happiness.  And  if  she  thought  that  was 
coming  without  a  thousand  readjustments, 
she  was  just  sappy,  that's  all.  It's  give  and 
take,  give  and  take— always  trying  to  take  a 
little  bit  more  than  you  give.  Which,  if  you 
are  sincere,  is  for  the  man's  good;  you'll  take 
the  right  things,  and  build  on  them. 

"Security  is  the  domesticated  woman's 
goal.  And,  if  she's  honest,  she  knows  that 
means  security    [  please  turn  to  page  91  | 

53 


ZaSu  Pitts  started  out  to  become  a 
tragedienne,  but  the  audience 
laughed  at  her  vague  hands.  "They 
have  always  waved  around — sort 
of  without  me,"  she  explains.  That 
"Oh,  dear"  of  hers  was  an  accident, 
in  her  first  talkie 


SOME  actors  arc  born  comedians; 
some  acquire  comed\%  and  others 
have  comedy  thrust  upon  them. 
Heartaches,  chance,  desperation, 
accident,  luck,  coincidence  .  .  .  upon 
each  one  of  these  hangs  the  career  of 
some  comedian  who  didn't  mean  to  be 
funny  at  all. 

Harold  Lloyd,  after  he  evolved  Lone- 
some Luke,  a  comic   type  that   mam' 
considered   an   imitation   of   Chaplin, 
worked  out  his  smooth-face,  funny  fel- 
low with  the  horn-rim  specs — worked  it 
out  deliberately,  after  long  considera- 
tion.   But  Harold  had  been  a  stock  com- 
pany character  man.     Louise  Fazenda's 
aim  was  to  make  people  laugh — only  she 
didn't  mean  to  make  them  laugh  quite  so 
hard.    The  Marx  Brothers  had  a  definitely 
comic    act    when    they    first    started   out 
minus  Harpo,  but  Harpo  never  meant  to  be 
the  comedy  riot  he  is  now.     His  comedy 
was  thrust  upon  him  when  he  was  dragged 
unwillingly  on  the  stage  one  evening,  and 
was  screamingly  and  silently  funny  because 
of  his  intense  fright. 

W.  C.  Fields  was  born  a  comedian.  Charlie 
Chaplin  began  as  a  boy  entertainer  in  Lon- 
don, but  it  was  not  until  he  more  or  less  ac- 
cidentally developed  his  sad  little  tramp  that  he 


They  Didnt 
Mean  To  Be 

FUNNY 


became  the  target  for  a  million  laughs.  Eddie  Cantor 
discovered  that  he  could  roll  his  eyes  and  so  became  a 
singing  comedian.  Mary  Boland  was  so  ravishingly  beauti- 
ful that  she  was  always  cast  as  the  conventional  leading 
lady  opposite  such  actors  as  John  Drew,  but  she  achieved 
higher  rating  as  a  comedienne  when  she  got  a  light  role  in 
"The  Torch  Bearers." 

It  is  difficult  to  pick  out  many  comedians  who  were  born 

in  the  interest  of  pure  comedy.    Most  of  them  acquired  il 

or  had  it  thrust  upon  them.   A  thousand  potential  Hamlets 

are  sending  America  into  stitches,  and  a  thousand 

comedians  are  reducing  us  to  tears. 

Consider,  for  example,  the  sudden  popularity 

of  Una  Merkel  since  the  talkies.     Sitting  in 

her  blue  and  white  dressing-room  at  M-G- 

M,  we  discussed  the  reasons  for  the  giggle? 

when  she  appears  on  the  screen. 


Bob  Woolsey's  funny,  mincing  swag- 
ger is  natural.  He  actually  walks 
that  way !  But  the  cigar  was  an  acci- 
dent, from  a  gag.  Wheeler's  little 
boy  manner  is  studied 


Joe  E.  Brown's  yell  came  from  trying 
to  get  a  friend  up  mornings.  The 
friend  was  a  heavy  sleeper,  until  Joe 
E.  thought  of  the  yell.  The  mouth, 
of  course,  helped 


54 


hi  few  actors 
Hfe  born  comedi- 
n  s.  Most  of 
lem  acquire  the 
le  or  have  it 
rust  on  them 

By  Winifred 
Aydelotte 

EICATURES   BY    FRANK    DOBIAS 


[  know  I'm  funny  on  the  screen,  but 
ill  don't  know  why,"  she  said.     "The 


li't  time  1  went  to  a  preview  of  a  talkie  I 
wi  in,  I  was  mystified  by  the  audience  re- 
aion.     But  I'm  getting  used  to  it.     Just  let 
n|  face  come  in  view  and  everybody  laughs." 

lit  isn't  vour  face,"  I  told  her.  "It's  your 
vice." 

•Perhaps  you  are  right,"  she  said.  "It  must 
I  my  voice.  Because  in  the  silents  .  .  .  But 
imy  voice  that  bad?" 

It 's  just  -  funny.   What  about  the  silents?" 


Jimmy  Durante's  side- 
wise  leer  was  protec- 
tive. You  see,  he  began 
his  career  in  a  section 
where  audiences  were 
plenty  tough.  And 
Jimmy  developed  the 
habit  of  watching  the 
crowd  out  of  the  corner 
of  his  eyes — to  duck 
missiles! 


Edna  May  Oliver 
was  flabbergasted 
when  an  audience 
howled  at  her  first 
sniff.  She  added 
the  nose  wrinkling 
after  that.  But  she 
hates  slapstick 


Laurel  and  Hardy 
fought  bitterly 
against  being 
teamed  as  comics. 
Their  gestures  are 
naturals,  Hardy's 
tie  twitching,  Lau- 
rel's wild  hair 


•Well,  when  I  played  in  silent  pic- 
lures,  I  wasn't  funny.  They  thought  1 
was  the  Gish-y  type,  fluttering  through 
the  night,  sort  of  a  waif  in  the  storm. 
Nobody  laughed  at  me  then.  Even  at 
home,  nobody  laughed  at  me— because 
they  were  used  to  my  voice,  I  suppose. 
1  never  meant  to  be  funny.  I  was  going 
to  be  a  great  dramatic  star.  But  then 
talkies  came,  and  I  opened  my  mouth, 
and  everybody  began  to  laugh.  Well, 
well,  so  that's  why  I'm  a  co- 
medienne!" 

And  there  you  are!      An   inven- 
tion  shatters  the  celluloid 
silence,   and  a   star   of   the 
Lillian  Gish  type  has  com- 
edy thrust  upon  her  over- 
night. 
The  origin  of  ZaSu  Pitts' 
comedy    trade-marks    is 
as    vague    as    her    hand 
waving. 

I  went  out  to  see  her  early 

one  morning  recently,  and 

found  her  all  done  up  in  a 

blue  jumper  effect,  apron, 

and   towel  wrapped  around 

her  head.     She  was  cleaning 

house  and  baking  Brownies, 

the  best  cookies  ever  made. 

ZaSu  etched  a  vague  arch  in 

the    air    and    said,    "I    really 

don't  know  when  I  first  began 

waving  my  hands.     1  mean,   I 

never  noticed  that  it  was  funny 

until  an  audience  laughed  at  it. 

My    hands   have    always    waved 

I'M     \SK    TURN    TO    PACK    108  | 


Here's  the  Standard 


Sylvia  says  Gloria  Swanson  has  perfect  feet  and 

Ismail  W6Ve^e  PCrfeCt  f00t  is  not  neceSarny 

a  small  foot.     With  proper  exercise  and  Sylvia's 

beauty  treatments,  a  foot  of  any  size  may  be  made 

attractive 


IN  the  last  couple  of  months  I've  pointed  out  the 
stars  who  had  the  most  perfect  figure  features 
And  I  ve  told  you  how  you,  too,  can  have  hips 
shoulders,   neck,   waistline,   etc.,   as  beautiful  as 
those  I  said  were  okay.    I've  set  the  standard  for  you 

be  good  J  Sa'V  SOmethin8  is  g°od>  *'*>  got  to 

You've  all  been  begging  for  more  and  more  and 

more.    I  told  you  to  have  patience.     And  see?    I'm 

telling  you  everything  I  know.    This  month  I'm  de- 

56 


yf^D  Sylvia's  standards  are  high—with 
^*  stars  for  her  models!  If  vou've  been 
spending  your  spare  time  beautifying  your 
skin  and  remodeling  the  face,  take  a 
critical  look  now  at  your  feel  and  legs 
Then  gel  busy  with  Sylvia's  advice  to  guide 
you,  and  work  your  own  beauty  miracles 

By  Sylvia 

voting  an  entire  article  to  feet  and  legs-pointing  ou 
the  picture  girls  who  have  the  right  kind  and  givin, 
you  the  inside  story  on  how  to  have  beautiful  feei 
and  legs. 

Let's  start  with  the  feet.    Whose?    You  guessed  it- 
Gloria  Swanson's.     Now  Gloria's  feet  are  small  but 
it  isn  t  for  that  reason  alone  that  I've  pointed  to  her 
as  your  standard  of  foot  perfection.     The  small  foot 
is  not  always  the  most  beautiful  foot.     The  perfect 
foot  is  nicely  arched.     The  toes  are  straight  and  not 
pinched  together  by  too  narrow  shoes.     There  are  no 
bunions.     And  an  attractive  foot-like  every  other 
part  of  the  body-must  be  slender!     I  loathe  those 
fat,  pudgy  feet  where  gobs  of  flesh  stick  out  from  an 
evening  sandal.   A  foot  can  hardly  be  too  slim.    And  it 
doesn  t  matter  whether  it's  broad  or  narrow,  just 
so  it  is  in  good  proportion,  the  toes  aren't  pinched 
and  it's  thin. 
Gloria  has  the  perfect  foot.     It  is  also  very  tiny 
and,  as  a  result,  she  has  difficulty  in  getting 
shoes.    She  used  to  have  them  imported  from 
Pans.     Also  she  loved  to  appear  tall  and 
stately  in  pictures  so  she  wore  those  high  ! 
spike  heels.     Gloria  and  I  used  to  fight 


To  Joan  Blondell  goes  the  gold 
medal  for  a  beautiful  lower  leg. 
It  is  perfectly  proportioned  and 
developed,  without  looking  mus- 
cular. The  right  exercises  will 
do  this 


for  Beautiful 
s  and  Feet 


a!mt  that  and  I'm  telling  all  you 
gSs,  "Don't  wear  heels  that  are  too 
hi;h!"      Spike    heels    impair   your 
hiilth  and  your  grace.  They  give  you 
al  ugly,  wobbly  walk.    And  they're 
tSi  for  your  circulation. 

Some  years  ago,  as  a  reward  for  the 
\  rk  I'd  done,  I  came  to  New  York  as 
(loria  Swanson's  guest  to  see  the  open- 
it  of  her  picture  "The  Trespasser."    A 
fjl  friend  of  hers  from  Chicago  met  us  in 
I.'w  York  but  she  had  to  go  back  home  in  a 
fv  days.    Gloria  hates  to  be  alone  so  she 
;  ced  me  if  I  would  stay  all  night  with  her. 

'I  have  a  hard  time  getting  to  sleep  in  a 
;!ange  room,  but  at  last  I  fell  off  into  that 
ikt  heavy  sleep  only  to  be  awakened  by  one 
J  Gloria's  practical  jokes.     Unknown  to  me, 
se  reached  across  from  her  twin  bed  to  mine 
Id  put  her  ice-cold  feet  on  my  stomach.  Mind 
Ju,  I  was  dead  asleep  but  I  awoke  with  a  start 
id  yelled,  "Oh  Gloria,  didn't  I  tell  you  not 

1  wear  those  high  heels?     They're  bad 

jr  your  circulation."     Gloria  thought 

at  was  the  funniest  thing  she  had 

er  heard. 

;  How  to  have  foot  loveliness? 

ere's    how.      Every    week 

ve  your  feet  a  massage  ^ 

ith  a  good  feeding  cream.  .- 

ub  the  cream  in  well  and 

nber  up  the  toes  with  a  | 

•ntle  rotating  movement 
the  hands.    Then  with 

a  orangewood  stick, 


Few  women  are  fortunate  enough  to  have  an  upper  leg  as  perfect 

as  Gertrude  Michael's.  However,  with  careful  and  regular  exercise, 

Sylvia  says  it  can  be  achieved 


tipped  with  cotton  and  dipped 
in    peroxide,    treat    the    toe- 
nails   exactly    as    you    treat 
your  fingernails.    Press  back 
the  cuticle.     Let  little  pads 
of  cotton  saturated  with  per- 
oxide soak  on  each  toe-nail 
while  you're  massaging  the 
other  foot.    And  be  sure  that 
you  cut  the  toe-nails  straight 
Never  round  them.      You'll 
have  ingrown  nails  if  you  do 
Now  wipe  off  all  the  peroxide 
and   cold   cream   and   paint 
your  nails  with  liquid  polish. 
It     looks     swell,     especially 
when   you   wear  evening 
sandals,  for  that  big  night. 
You  great  big  girls  who  teeter  and  toddle 
around  on  fat  feet  squeezed  into  shoes  a 
couple  of  sizes  too  small  for  you  should 
be  ashamed  of  yourselves.    Better  still, 
you  should  give  yourselves  the  once- 
over in  the  mirror  and  see  how  ridicu- 
lous you  look.    If  you're  fat  all  over, 
reduce!    In  a  minute  I'm  going  to  give 
you  an  exercise  for  the  legs  that  will 
also  reduce  the  feet  and  don't  forget 
that    with    my    good    old    squeezing 
method  you  can  take  off  stubborn 
lumps  of  flesh. 

If  you  stand  a  lot  and  your  feet 
swell  take  alternate  hot  and  cold 
foot  baths  and  afterwards  lie  on 
your  bed  with  your  feet  propped 
up  so  that  they  are  much  higher 
than  your  head. 

And  don't  have  bunions.    The  only 
way    to    avoid    them    is    to    have 
properly  fitted  shoes.    If  you  have 
a    bunion    get    scientifically    fitted 
shoes.    Yes,  yes,  I  know.    You  say 
they're  not  very  attractive.   Maybe 
they're  not,  but  it's  far  better  to 
wear  these  shoes  for  a  couple  of 
months  than  to  spend  the  rest  of 
your  life  with  unsightly   bunions. 
Take  a  good  look  at  Gloria  Swan- 
son's  feet.      There  are  no  bunions. 
Remember  this  also — no  foot  can  be 
really  beautiful  unless  it's  hooked  onto 
an  attractive  ankle  and  no  ankle  looks 
well  unless  the  rest  of  the  leg  is  good. 
Maybe  you  can  guess  one  of  my  require- 
ments for  a  beautiful  ankle.    It's  the  same 
as  for  every  other  part  of  the  body.     I 
can   say   it   in   one   word — my   favorite. 
Slim! 

Joan   Blondell's  ankles  and  the  lower 

part  of  her  leg  from  and  including  the 

knee   down   are   wonderful.      Take  a 

good  long  look.    You  won't  regret  it. 

[  PLEASE  TURN  TO  PAGE  85  1 


Additional   advice 

by  Sylvia  about 

other   personal 

beauty  problems 

found  on  page  85 

57 


IMonchalant  lMoel  C 


owarc 


IF  Noel  Coward  is  ever  per- 
suaded to  make  a  picture  in 
Hollywood  —  and  there  is 
still  a  possibility  that  he 
may  do  it  some  day — he  will 
follow  the  lead  of  his  friends, 
Alfred  Lunt  and  Lynn  Fon- 
tanne,  and  make  it  a  sort  of 
"hop,  skip  and  jump."  A  hop 
into  Hollywood,  a  skip  out 
again  and  a  jump  back  onto 
the  stage.  For  the  author  of 
"Cavalcade"  and  "Private 
Lives"  has  no  desire  to  be  a 
movie  actor. 

This  doesn't  mean  that  the 
brilliant  young  dramatist  hates 
the  movies.  Speak  of  Holly- 
wood's production  of  "Caval 
cade,"  and  he  will  tell  you  en- 
thusiastically that  it  was  mag 
nificently  done.  But  he  is  so 
completely  wrapped  up  in  the 
theater — everything  he  has  is 
in  it — that  being  a  picture  star- 
has  no  appeal  for  him. 

I  met  Noel  Coward  in  the 
lounge  of  the  Empress  of 
Britain,  the  liner  that  brought 
him  to  America  for  the  opening 
of  his  new  play,  "Point  Val 
aine,"  in  Boston  on  Christmas 
Eve.  He  was  with  Lady  Louis 
Mountbatten  and  Viscount 
Duncannon,  son  of  Canada's 
Governor-General,  when  I  in- 
troduced myself,  some  time  be- 
fore the  ship  reached  Quebec. 
Without  a  moment's  hesitation 
he  had  excused  himself  from 
his  companions  and  had  taken 
me  over  to  the  other  side  of  the 
lounge.  There  I  chatted  with 
this  good-looking  and  thor- 
oughly charming  Englishman 
for  almost  an  hour. 

Noel  Coward's  personality 
takes  hold  of  you  in  a  second. 
He  has  made  a  brilliant  name 
for  himself  in  the  theater — he 
has  been  lauded  and  praised 
and  called  a  genius,  and  no- 
body could  blame  him  if  he 
went  "up-stage."  But  there  is 
nothing  stand-offish  about  this 
remarkable  young  man,  unless 
it  is  with  the  people  he  feels  are 
playing  up  to  him  in  their  own 
interests.  I  found  him  easy  to 
approach,  enthusiastically 
ready  to  talk  and  charming  in 
manner.  His  smile  is  infec- 
tious. He  has  a  decided  Eng- 
lish accent,  but  it  is  the  well- 
modulated,  pleasing  accent  of 
the  cosmopolitan  Englishman. 

58 


The  author  of  "Cavalcade"  and 
"Private  Lives"  may  go  out  to 
Hollywood — but  he  won't  stay 

By  John  Rhodes  Sturdy 


Aboard  ship,  on  his  way  to  America,  the  famous 
young  playwright  who  has  written  so  many  suc- 
cesses^some  of  them  loved,  some  of  them 
hated,  all  of  them  brilliant.  With  Coward  is 
Lady  Louis  Mountbatten,  a  fellow  traveler 


What   exactly   I   wanted 
know  at  the  start,  were  his  r 
actions  when  he  sits  in  a  mo; 
house  and  sees  his  plays  on  t! 
screen? 

He  crossed  his  legs,  settli 
back  comfortably  in  his  chajJ 
and  smiled. 

"But  I  seldom  do,"  he  r  I 
plied  simply. 
"Oh!" 

"No,     I     very    seldom    si 
movies  of  the  things  I  write. 
"  Have  you  seen  '  Design  f< 
Living'?" 

"I  haven't."    Then  his  eye1 
twinkled.     A  little  smile  cref 
to  the  corner  of  his  lips.    " 
was  paid  an  enormous  sum  fq 
the  play  in  Hollywood.    It  wa 
a  perfectly  stunning  offer, 
am  told  that  there  are  three  t 
my   original   lines  left  in  th 
picture.    Most  important  line; 
like  'Pass  the  mustard,  please'. 
His  conversation  is  con 
stantly  punctuated  with  wit 
the   wit    that    made   "Privat 
Lives"  and  "Hay  Fever"  hit 
on  the  stage.     Sometimes  it  i 
sharp  and  pointed,  and  if  yoJ 
attempt  to  sting  Noel  Cowan 
he  will  give  you  back  that  am' 
more.     They  tell  the  story—  i 
wouldn't  vouch  for  the  truth  o 
it — of    the    young    dramatis 
meeting  Lady  Diana  Manners) 
star  of  "  The  Miracle."    She  i 
said  to  have  greeted  Cowan 
with  the  words,  "So  you  an 
the    young    man    who    wroti 
'Private    Lives.'       Not    ver\  , 
funny."      He    is    reported   t<  j 
have  replied.  "And  you  are  thi 
lady     who     played     in      Tht 
Miracle.'     Very,  very  funny.' 
I  asked  him  about  "Privatf 
Lives,"  and  what  he  thought! j 
of  it  as  a  picture.    He  wasn't 
pleased  with  its  production,    ill 
tried  him  on  "  Cavalcade,"  and  ' 
he  was  seriously  enthusiastic. 

"It  was  beautifully  doneon| 
the  screen,"  he  told  me.  "1 
don't  believe  it  could  possibly 
have  been  made  into  a  better 
film  than  it  was.  Really  fine 
and  those  who  handled  it  and 
played  in  it  deserve  a  great 
deal  of  credit.  I  was  immensely 
pleased." 

Noel  Coward  loves  the 
theater,  naturally,  because  he 
is  a  part  of  it.  If  he  takes  an 
occasional   dig   at    the   movie 

[  PLEASE  TURN  TO  PAGE  105  I 


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ROYER,  Fox  Film  stylist,  added  a 
touch  of  luxury  to  this  black  and 
Sold  travel  ensemble  designed  for 
Mona  Barrie  in  "Mystery  Blonde." 
Collared  in  silver  fox  with  cuffs 
and  long  fitted  waistcoat  of 
gold-checked   sheer  black  wool 


THE  traveler  will  appreciate  a 
costume  of  this  type,  for  when  the 
topcoat  is  removed,  she  is  ready 
for  the  diner  or  hurried  tea  en- 
gagement direct  from  the  train. 
The  dolman  sleeves  and  ascot  are 
in  gold  metal  cloth.    Hat  is  black 


V 


/ 


x. 


FOR  resort  wear,  Royer 
created  a  white  shantung 
suit  for  Mona  to  be  worn 
with  white  accessories. 
Semi-fitted  and  with  but- 
toned pockets  as  the  only 
accent.  Fringed  coin  dot- 
ted scarf  is  worn  on  the 
outside  of  collar,  and  a 
white  hat  is  draped  with 
a  military  cord.  Pull-on 
gloves  and  flat  white  bag 


MID-SEASON 
ENSEMBLES 
AND  SUITS 
THAT  GO 
PLACES 


,  •  s 

*   • 


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i.V" 


•  • 


•  •  • 


ADRIAN'S  unmistakable 
genius  always  creates  simply 
smart  clothes  for  Ann  Har- 
ding. In  her  newest  picture, 
"Biography  of  a  Bachelor 
Girl,"  we  find  this  three- 
piece  outfit  and  hat  band  in 
beige  woolen,  navy  blue 
dots  and  a  blue  organza  collar 


BLACK  and  white  for  a  pic- 
turesque effect  by  Adrian.  A 
Japanese  print  silk  forms  the 
frock  and  hat  crown,  and  the 
black  wool  redingote  is 
trimmed  with  silver  fox.  An 
Oriental  and  South  Sea  Is- 
land style  influence  grows. 
You  will  see  more  for  Spring 


FOR  late  Winter  wear  under 
a  topcoat,  we  suggest  Ann's 
ensemble  in  oxford  gray  nov- 
elty weave  woolen  with  red 
blouse  and  beret.  A  special 
fashion  interest  centers  on 
elbow  length  cuffs  and  wide 
revers.  Adrian's  inspiration 
is  perfect  for  mid-season  use 


£ 


NORMA  SHEARER  DRESSES 
FOR  DINNER--AND  LATER 


»    . 


M 


% 


// 


ON  the  warmth  and 
richness  of  red  cut  vel- 
vet alone  depends  the 
dramatic  value  of 
Norma's  musketeer 
evening  cape.  A  broad 
bias  shoulder  roll  and 
an  upstanding  collar 
suggest  a  cape.  Note 
the  jeweled  twin 
clips.  The  gown  is 
soft  white  suede  crepe 


NORMA'S  preference 
for  beauti fu I  fabric, 
good  line  and  simplicity 
is  emphasized  in  a  din- 
ner dress  of  white  frost 
crepe,  embroidered  in 
gold  thread.  An  ac- 
cordion pleated  under- 
skirt peeping  from  a  slit 
in  the  back  skirt  is  the 
only  frivolous  touch. 
Peaked  turban  in  velvet 


THE  loveliest  of  stars  in  a 
gracious  dinner  gown  of  gold 
lame.  Again,  only  the  metal 
cloth  and  cut  are  depended 
on  for  a  strong  note  of  chic 
and  sophistication.  Norma's 
high  neckline  is  a  fashion 
favorite  for  dinner  gowns, 
and  the  almost  school-girlish 
collars  are  accompanied  by 
small  trains.  Designsby  Adrian 


J*l 


V 


■    kg 


slORMA  SHEARER 

lings  to  her  favorite 
ailleurs  for  daytime,  and 
vears  black  velveteen  to 
n  advantage  with  a 
vhite  pique  gilet,  gar- 
lenias,  doeskin  gloves. 
\n  Adrian  design.  Her 
)i  1 1  box    hat    is    new 


A  WHITE  frame  for  Myrna*s 
Titian  beauty,  in  a  flare  collar 
which  Dolly  Tree  has  so  cleverly 
devised  in  a  matching  white 
blister  crepe.  The  coat  is  lined 
with  black  velvet  and  corded 
heavilytoaccentthegracile  lines. 
A  suspicion  of  the  velvet  shows 
at  hands  and  beneath  the  tunic 
lines  of  this  flattering  wrap 


-    "* 


GAY  STRIPES  AND  PLAIDSI 

FROM  BELOW  THE  R|H 

GRANDE  FOR  RESORT  AND 

CRUISE    CLOTHES 


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V  - 


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^ 


JUST  the  outfit  for  a  Tropics-bound 
steamer.  By  Orry-Kelly  for  Margaret 
Lindsay  in  "Bordertown."  A  Mexican 
atmosphere  is  introduced  in  those 
stripes  as  gay  as  Margaret's  smile.  The 
wide  revers  are  slashed,  scarf'  drawn 
through.     Close   hat   is  breeze-proof 


ORRY-KELLY  chose  a  chenille 
striped  velvet  jacket  for  Margaret 
to  wear  over  a  formal  dance  frock. 
Double  collar,  wide  gold  kid  belt 
and  fullness  below  the  waist.  This 
costume  worn   in   "Bordertown" 


A  WHITE  gabardine  suit  with 
mess  jacket  and  striped  halter 
vestee  is  suggested  for  Southern 
resorts,  because  you  can  change 
accessories  for  costume  variety,  an 
idea     that    Margaret    also    likes 


MARGARET  dines  in  a  gown  of  white  chenille-striped  crepe, 
charmingly  brightened  with  a  kerchief,  belt  and  skirt  inset  of 
brilliant  plaid  velvet.     Style  notes:   high   neck,  wide  belt,   train 


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Irving  Lippman 


NEZ  COURTNEY  and  Arthur  Hohl  are  wondering  what  that  book's  all 

about.    But  George  Murphy  won't  even  give  them  a  look-in.    The  cameraman 

caught  them  between  scenes  of  "Jealousy."     Murphy  won  the   male   lead 

opposite  Nancy  Carroll  in  the  Columbia  film  after  he  clicked  in  "Kid  Millions" 


Russell  Ball 


I T  S  a  howling  success  when  Charles  Butterworth  and  his  pet  terrier  present  a 
I  number.  That  s  a  smart  pup,  too.  He  knows  all  about  resting  at  bars  and 
following  the  scores.  He  doesn't  like  puns  though.  Bit  the  M-G-M  actor 
once  when  Charlie  innocently   told   him  to  never  B  flat  in  "The  Barkerole" 


How  Carole  Lombard 
Plans  A 
Party 


Foremost  hostess  in  the 
Hollywood  social  whirl 
Carole  confesses  here 
her  secrets  of  success 

By  Julie  Lang  Hunt 


IT  looks  like  a  long,  hard  winter  for  Holly- 
wood hostesses. 
You  see,  Carole  Lombard  is  back  in  the 
social  scramble,  and  that's  very  bad  news 
for  all  the  party  experts  in  the  movie  territory. 
Last  Autumn,  when  she  opened  her  new  gem- 
f-a-little-house  for  a  series  of  smart  parties, 
Carole  was  a  dark  horse  in  the  hostess  line-up, 
but  she  finished  the  fabulously  gay  season  of 
'33  and  '34  two  laps  ahead  of  all  the  established 
favorites.  Now,  even  the  social  die-hards  out 
here  concede  first  place  to  her,  on  the  strength 
of  her  perfect  little  dinners  and  brilliantly 
managed  buffet  suppers. 

Last  Winter,  in  the  midst  of  one  of  her  large 
cocktail  parties,  I  overheard  a  veteran  hostess 
exclaiming  over  the  apparent  success  of  the 
gathering.    She  said: 

"Just  look  at  her  (indicating  Carole),  not  a 
furrow  of  worry  on  her.  Why,  she  actually 
manages  to  be  casual  with  a  hundred  guests 
under  her  roof!" 

And  right  there,  in  the  wailing  lady's  lament, 
lies  the  secret  of  Carole's  social  sorcery.  She 
is  casual,  or  seems  to  be,  which  serves  up  just 
as  well.  Her  guests  are  never  conscious  that 
hard  work  and  thoughtful  planning  have  gone 
into  the  party  they  are  enjoying.  An  evening 
in  the  Lombard  home  seems  to  unfold  itself  on 
a  magic  carpet,  where  even  the  food  manages  to 
appear  as  the  inspiration  of  the  moment. 

And  by  this  time,  if  you're  not  frantic  to 
know  how  Carole  does  it,  you'd  better  skip  the 
!  rest  of  this  story,  for  it  is  dedicated  to  only  those  women  who 
I  are  interested  in  the  fine  art  of  modern  hospitality. 

According  to  Carole,  her  casual  manner  in  the  drawing-room 
is  a  luxury  she  earns  with  a  right  smart  bit  of  work  before  each 
party.    She  says: 

I  wouldn't  think  of  giving  a  dinner,  even  a  small  one  for 


On  the  set,  between  scenes  of  "Rhumba,"  Carole  takes  time  out 

to  go  over  a  party  menu  with  her  housekeeper.     Miss  Lombard 

says  a  successful  dinner  must  be  planned  a  week  ahead  of  time, 

even  if  only  a  few  close  friends  are  being  invited 


six  people,  without  at  least  a  week  of  planning.  This  gives 
everyone  in  my  household  time  to  organize  details.  It  gives 
me  time  to  plan  a  menu,  my  cook  time  to  carry  it  out,  and  the 
stores  time  to  order  any  special  or  out-of-season  foods.  And 
then  it  gives  me  time  to  arrange  my  own  engagements  so  that 
I  won't  be  all  tired  out  for  it."     [  please  turn  to  page  94  ] 

67 


What  I  Like  and 


A  FRESH  MAN  in 
high  school  was  talk- 
ing, and  she  was  re- 
garding her  nose  in 
the  mirror  with  gloomy  dis- 
taste. "It  must  be  wonderful 
to  be  a  movie  star  and  know 
that  everything  about  you  is 
absolutely  right,"  she  said. 

"What  do  you  mean  'ab- 
solutely right?'  "  I  asked. 

"Well,  my  goodness!"  she 
snapped.  "If  millions  of 
people  go  to  see  you,  I  guess 
you  have  to  be  pretty  good, 
don't  you?  And  I  guess  if  you 
know  that  millions  of  people 
like  you  just  the  way  you  are 
it  gives  you  a  lot  of  self-con- 
fidence, doesn't  it?  I  mean, 
on  account  of  all  those  people 
liking  you,  you  have  no  kick 
coming,  have  you?  I  mean, 
you  like  yourself  just  the  way 
you  are,  don't  you?" 

She  turned  back  to  the  mir- 
ror. 

"The  thing  I  don't  like 
about  myself,"  she  continued, 
"is  my  nose.  How  do  you 
think  I'd  look  if  it  was  straight 
instead  of  turned  up?  And  I 
don't  like  my  hair.  Would  you 
have  it  bleached,  if  you  were 
me?  Or  what  would  you  do? 
And  another  thing,  I  hate  the 
way  I  get  all  red  and  embar- 


Imagine  that!  Neil  Hamilton 
doesn't  like  his  smile!  The 
ladies,  however,  go  for  it  in  a 
big  way!  And  we'll  bet  Neil 
has  no  fault  to  find  with  the 
way  his  daughter  Patricia 
laughs 


The  lovely  Virginia  Bruce  has 
been  called  Hollywood's  most 
beautiful  woman.  Yet,  she  is 
dissatisfied  because  she 
doesn't  like  her  chin.  She 
considers  her  eyes  her  best 
facial  feature 


Douglass  Montgomery  won't 
tell  his  dislikes.  Says  if  he 
doesn't  mention  his  bad  points, 
maybe  others  won't  notice 
them.  But  for  a  man  that's 
not  conceited,  he  has  a  long 
list  of  likes! 


rassed  when  I  talk  to  a 
stranger." 

"I  think  I'll  prove  to  you 
that  you're  not  one  bit  dif- 
ferent from  a  lot  of  actors  and 
actresses."  I  grinned  at  her. 
"  I  think  I'll  go  out  and  prove 
that  many  of  the  famous 
people  of  the  screen  have  likes 
and  dislikes  about  themselves 
just  as  lively  as  yours." 

And  so  I  sallied  forth  to  ask 
two  difficult  questions  of  the 
famous,  because  a  little  high 
school  girl  dislikes  herself  so 
thoroughly. 

"What  do  you  like  best 
about  yourself,  and  what  do 
you  like  least  about  yourself— 
on  the  screen  and  off?"  were 
to  be  my  questions. 

The  first  person  I  called  on 
was  Virginia  Bruce.  After  a 
good  deal  of  hard  thought,  she 
decided  that  she  likes  her  even 
disposition  and  that  she  does 
not  like  her  inferiority  com- 
plex in  the  presence  of  people 
of  high  intelligence.  On  the 
screen  she  likes  her  chin  the 
least  and  her  eyes  the  most. 

Lee  Tracy,  dashing  back  and 
forth  on  the  set  between  me 
and  the  camera,  took  two 
hours  to  answer  these  ques- 
tions, due  partly  to  the  fact 
that  he  had  to  answer  them 


68 


Hate  About  Myself 


Jo  indeed,  the  stars  are 
ot  satisfied  with  them- 
elves.  They  may  be  hand- 
ome  and  beautiful,  but 
very  time  they  look  in 
mirror,  they  wish — ■ 


?v  Winifred  Aydelotte 


"They  are  beautiful!" 
Karen  Morley  is  talking 
about  her  new  eye- 
lashes. "Just  the  kind 
I've  always  longed  for. 
And  they  look  as  if  they 
grew  on  me!"  But  did 
you  know  Karen  is  ab- 
sent-minded? Even  for- 
got the  eyelashes  one 
morning 


"The  face?  It's  ter- 
rible!" says  Tracy.  No, 
Lee  doesn't  like  his  face. 
In  addition  to  that  pet 
hate,  he  is  very  much 
dissatisfied  with  him- 
self because  he  is  so 
lazy!  Well,  we  always 
considered  that  one  of 
his   chief  charms 


Look  her  over  carefully,  and 
we'll  bet  you  can't  detect  a 
single  bad  feature.  Elissa  says, 
however,  that  she  is  most  dis- 
satisfied with  her  mouth.  Miss 
Landi  confesses,  too,  that  she 
has  a  quick  temper 


between  shots,  but  mostly  be- 
cause he  was  anxious  to  answer 
them  honestly. 

"On  the  screen,"  he  said,  "I 
like  best  the  fact  that  I  have  an 
instinct  for  the  right  movement 
at  the  right  time.  Now  I'll  take 
the  ego  out  of  that  statement  by 
changing  it  a  little.  I  like  the  fact  that  after  years 
of  studying  to  get  my  particular  technique — 
movement  of  hands,  body,  and  timing — I  don't 
have  to  think  consciously  about  my  tricks.  I  have 
made  them  mine,  and  I  can  recognize  the  instinct 
when  I  see  myself  on  the  screen.     Get  it? 

"Now,  the  other  side  of  it:    I  hate  my  looks!" 
"Don't  you  like  your  face — really?"  I  asked. 
"No!     The  face  is  terrible!" 
Off  the  screen,  Lee  likes  least  about  himself  his 
laziness — his  not  being  able  to  drive  himself  to  do 
what  is  necessary.    He  says  he  spends  most  of  his 
time  just  putting  things  off. 

He  likes  best  his  ability  to  enjoy  solitude. 
"It  isn't  exactly  self-sufficiency,  but — well,  look, 
here  it  is:  Everybody  gives  too  much.  Keep  your- 
self to  yourself.  I  don't  mean  to  be  rude  or  hurt 
anybody,  but  learn  how  to  be  happy  by  yourself. 
That  is  not  selfishness.  It's  just  a  courtesy  a 
human  being  owes  to  himself.  I  drove  out  here  all 
alone  from  New  York.  And  I  drove  alone  to 
Florida.  I  was  kind  to  myself  and  not  rude  to 
anybody  else,  because  if  I  had  taken  someone  with 
me  we  couldn't  have  agreed  every  single  time 
about  where  and  how  long  to  stay  at  a  certain 
place,  or  what  to  do.  Either  he  or  I  would  have 
been  hurt,  or  uncom-  [  please  turn  to  page  102  ] 

69 


Select  Your    Pictures    and    You    Wo 


n't 


ft 


SEQUOIA     M-G-M 


HERE  is  a  tine  and  beautiful  picture  which  will  amaze 
you  because  its  story  of  animal  life  in  the  magnificent 
Sierra  Mountains  will  stir  you  more  deeply  than  any  human 
drama.  Jean  Parker  (perfectly  cast)  rescues  a  young  fawn 
and  a  baby  puma  from  pursuing  hunters.  The  two  animals, 
natural  enemies,  grow  up  together  in  a  miraculous  friend- 
ship, until  Jean  is  forced  to  release  them.  The  love  story 
that  follows  when  the  deer  takes  a  beautiful  doe  for  his 
wife  and  they  set  up  housekeeping  in  the  woods,  is  one  of 
the  loveliest  things  you've  ever  seen  on  the  screen. 

The  human  romance,  with  Jean  Parker  and  Russell 
Hardie,  is  effectively  woven  through  the  picture.  Take 
grandpa  and  the  children,  and  you'll  all  probably  stay  to 
see  it  twice.     For  it's  a  triumph  in  motion  picture  making 


ft 


IMITATION  OF  LIFE     Universal 


YOU  will  weep  gallons,  but  you  will  love  this  warm,  human 
story  of  the  fine  friendship  between  two  mothers  of 
different  races  allied  in  the  common  cause  of  their  children. 
Bea  Pullman  (Claudette  Colbert)  a  widow  with  a  baby 
girl,  is  selling  maple  syrup  for  a  living,  when  along  comes 
shining  black  Aunt  Delilah  (Louise  Beavers — and  what  a 
performance!)  with  her  little  girl,  Peola.  Delilah  makes 
delicious  pancakes.  Result:  Aunt  Delilah's  Pancake  Flour, 
and  eventually  a  fortune  for  the  two  women.  As  the  chil- 
dren grow  up,  however,  difficulties  present  themselves. 
Pcola  (Fredi  Washington)  looks  white,  and  denies  her  black 
mother.  Boa's  daughter  (Rochelle  Hudson)  falls  in  love 
with  Warren  William,  whom  Bea  was  to  marry.  The 
story,  skilfully  handled,  makes  a  fine  film 

70 


The 


Shadow 


A  Review  of  the  Neiv  Pictures 


ft 


THE  MIGHTY  BARNUM     20th  Century- 
United  Artists 


STEP  right  up,  folks,  and  see  just  about  the  grandest  show 
you  ever  paid  your  money  for.  You  get  the  show  and  all 
the  behind-the-scenes  business  as  well,  plus  fascinating 
biography,  and  a  laugh  a  minute.  And  the  pathos  is  there, 
too  when  it  is  needed. 

Wallace  Beery  as  Phineas  T.  Barnum  gives  his  best  per- 
formance since  "The  Champ,"  and  the  rest  of  the  cast  is 
right  up  with  him.  Virginia  Bruce,  as  Jenny  Lind  is  the  big 
surprise,  looking  more  beautiful  than  anyone  we  can  think 
of,  and  singing  like  an  angel.  Adolphe  Menjou  as  Mr. 
Walsh,  an  alcoholic  scientist,  is  a  wow,  Janet  Beecher  is  a 
perfect  shrewish  Mrs.  Barnum,  and  Rochelle  Hudson  lovely 
as  the  girl  Ellen. 

The  opulent  production,  the  movement,  color,  fantastic 
characters,  the  smoothness  and  direction,  all  combine  into  a 
brilliant  background  for  some  grand  acting.  The  story  is  of 
Barnum's  career  from  the  New  York  small  shop-keeper  with 
a  passion  for  freaks,  on  through  his  museum  days,  up 
through  his  mad  infatuation  for  Jenny  Lind  which  ruins 
him.  Then  he  stages  a  grand  return,  uniting  again  with 
Mr.  Walsh — whose  first  name  turns  out  to  be  Bailey.  This 
picture  of  the  greatest  show-man  on  earth,  who  was  the 
originator  of  present-day  exploitation,  is  salty  and  vigorous 
and  one  of  the  best  evening's  entertainment  you  will  ever 
enjoy. 


lave    to    Complain    About    the    Bad    Ones 


The  Best  Pictures  of  the  Month 

II    MIGHTY  BARNUM  SEQUOIA 

)MANCE  IN  MANHATTAN  IMITATION  OF  LIFE 

THE  PRESIDENT  VANISHES 
LIGHT  EYES  BABBITT 

hHl.S  IN  TOYLAND  IT'S  A  GIFT 

The  Best  Performances  of  the  Month 

Wallace  Beery  in  "The  Mighty  Barnum" 

Virginia  Bruce   in   "The  Mighty   Barnum" 

Francis  Lederer  in     Romance  in  Manhattan" 

Claudette  Colbert  in  "Imitation  of  Life" 

Louise  Beavers  in  "Imitation  of  Life" 

Edward  Arnold  in  "The  President  Vanishes" 

Arthur  Byron  in  "The  President  Vanishes" 

Guy  Kibbee  in  "Babbitt" 

W.  C.  Fields  in  "It's  a  Gift" 

Gene  Raymond  in  "Behold  My  Wife" 

Casts  of  all  photoplays  revieived  will  be  found  on  page  110 


ft 


ROMANCE  IN  MANHATTAN- 
RKO- Radio 


ONCE  in  a  while  a  well-nigh  perfect  screen  play  is  written; 
a  practically  flawless  cast  is  assembled  to  make  the  al- 
eady  lifelike  characters  breathe,  and  a  clever  director  lifts 
he  whole  thing  to  a  rare  height. 

1    Such  a  picture  is  "Romance  in  Manhattan,"  directed  by 

Mephen  Roberts  and   enlivened  dramatically  by   Francis 

,-ederer,    Ginger  Rogers,   Jimmy   Butler,   J.   Farrell   Mac- 

)onald,  Sidney  Toler  and  Donald  Meek,  all  of  whom  make 

he  film  an  offering  of  rare  excellence. 

Lederer  plays  the  part  of  a  Czechoslovakian  immigrant 
\ho  enters  the  country  illegally  and  gets  a  job  from  Ginger 
Rogers'  small  brother,  Jimmy  Butler,  selling  papers.  Am- 
)itious,  he  rises  to  the  triumphant  heights  of  being  a  taxicab 
1  river — and  in  love  with  Miss  Rogers  at  the  same  time.  Ah! 
America  is  a  wonderful  place!  But  he  cannot  marry  her 
'ecause  he  is  not  a  citizen,  and  the  small  brother  is  placed 
n  an  orphan  asylum  because  Miss  Rogers  is  judged  an  unfit 
guardian,  and  things  look  pretty  black  until  an  Irish  cop, 
r.  Farrell  MacDonald,  comes  to  the  rescue  in  one  of  the- 
nost  hilarious  scenes  ever  designed  to  bring  about  a  happv 
nding. 

Lederer  is  charmingly  at  home  in  his  role,  and  M:ss 
Rogers  excellent.  But  the  bulk  of  the  bravos  must  go  to 
itephen  Roberts  whose  direction  is  just  this  side  of  miracu- 
lous, and  to  the  authors  whose  pens  were  inspired. 


ft 


THE  PRESIDENT  VANISHES 
Walter  W anger -Par  amount 


FOR  once  a  picture  deserves  the  term  "sensational." 
Timely,  startling,  even  shocking,  this  screen  speculation 
of  what  would  happen  if  the  chief  executive  vanished  in  a 
crisis,  is  guaranteed  to  do  more  than  capture  your  intense 
interest.     It  will  make  you  think. 

In  no  recent  film  have  there  been  so  many  cameo-cut, 
vigorous  characterizations.  x\rthur  Byron  plays  the  con- 
scientious President  Stanley  with  earnest,  human  dignity. 
Edward  Arnold  achieves  another  triumph  as  Secretary 
Wardell.  Osgood  Perkins,  Paul  Kelly,  Edward  Ellis,  Janet 
Beecher,  Andy  Devine,  and  the  entire  cast  keep  up  the 
high  standard. 

To  some  it  may  seem  illogical  in  spots,  colored  slightly 
with  propaganda.     But  all  will  find  it  intriguing. 


ft 


BRIGHT  EYES— Fox 


A  BRIGHT  bit  of  entertainment,  not  too  sad,  not  too 
gay,  not  too  incredible. 

Shirley  Temple,  orphan,  is  sheltered  by  the  boys  at  a 
flying  field,  and  quite  firmly  but  without  benefit  of  legality, 
adopted  by  Jimmy  Dunn.  A  battle  ensues  when  one,  Uncle 
Ned  (Charles  Sellon),  a  grouchy  old  fellow  in  a  wheel  chair, 
sets  his  soft,  old  heart  on  having  the  child. 

The  end  is  pretty  exciting,  what  with  Jimmy  and  Shirley 
bailing  out  of  a  doomed  plane,  Jimmy  being  accused  of  kid- 
napping her,  and  a  courtroom  scene  where  a  judge  brings 
Jimmy  and  his  estranged  sweetheart,  Judith  Allen,  together 
again,  and  makes  a  happy  ending  all  around. 

A  fine  characterization  is  offered  by  Jane  Withers,  a 
little  girl  not  much  older  than   Shirley.     Sellon  is  superb. 

71 


The   National   Guide   to   Motion    Picture 


(REG    II    S.  PAT   OFF.) 


£ 


BABBITT— 
First  National 


* 


BABES  IN 
TOYLAND- 
Hal  Roach- 
M-G-M 


GEORGE  BABBITT,  Sinclair  Lewis'  famous  character 
comes  to  the  screen  via  Guy  Kibbee,  as  a  naively  exasperat- 
ing old  gent,  who  is  very  susceptible  to  flattery.  As  a  result  of 
Kibbee's  characterization — and  he's  at  his  best — the  picture 
escapes  the  caustic  preachment  class  and  is  humor-laden  enter- 
tainment. Aline  MacMahon  is  excellent  as  the  wife.  Minna 
Gombell,  Alan  Hale,  Minor  Watson  shine  in  support. 


THIS  screen  version  of  Victor  Herbert's  nursery-rhyi 
classic  is  a  marvelous  mixture  of  stirring,  if  fantastic  drat 
and  riotous  tomfoolery.  With  Stan  Laurel  and  Oliver  Har 
at  their  best  and  funniest,  with  Charlotte  Henry  as  a  ve 
charming  Little  Bo-pccp,  Felix  Knight  the  handsome  Tom,  a 
Henry  Kleinbach  the  villain,  this  is  gay  and  pleasant  enti 
tainment  for  young  and  old. 


* 


IT'S  A  GIFT 
— Paramount 


ONE  HOUR 

LATE— 

Paramount 


IT  is  a  gift!  W.  C.  Fields  makes  this  one  long  laugh  from  start 
to  finish.  In  his  favorite  role — that  of  the  henpecked  hus- 
band— he  starts  with  his  family  for  sunny  California  and  an 
orange  grove.  And  the  laughs  pyramid  with  each  of  his  suc- 
cessive absurdly  amusing  adventures!  Good  support  from 
Jean  Rouverol,  Kathleen  Howard,  and  Baby  LeRoy.  But 
Fields  is  the  show. 


ANEW  screen  personality,  Joe  Morrison,  makes  a  stro 
bid  for  fame  in  this  spritely  little  yarn  depicting  the  lo 
of  an  office  clerk  for  a  stenographer,  Helen  Twelvetrees,  ai 
their  difficulties  when  their  romance  is  nearly  wrecked  by  t 
boss,  Conrad  Nagel,  and  a  file  clerk,  Arline  Judge.  Laughs  a 
frequent,  pathos  well  spaced.  Entire  cast  is  good,  but  ii 
Morrison  and  his  sweet  voice  you'll  remember. 


MARIE 

GALANTE— 

Fox 


BEHOLD  M 

WIFE— 

Paramount 


WHAT  should  have  been  a  completely  strong  and  gripping 
story  breaks  in  spots  because  of  glaring  implausibilities. 
Ketti  Gallian,  the  new  French  star  plays  the  part  of  a  little 
French  girl  kidnapped  by  a  sea  captain  and  put  ashore  at  Pan- 
ama, where  she  becomes  involved  with  spies  and  intrigues  until 
rescued  by  Spencer  Tracy.  Ned  Sparks,  Helen  Morgan,  Leslie 
Fenton,  Arthur  Byron  good. 

72 


THIS  is  ye  old  time  hokum,  done  convincingly  with  distin 
audience  appeal.  Sylvia  Sidney  is  an  Indian  princess  wl 
would  do  justice  to  any  reservation.  Gene  Raymond  mam 
her  to  get  revenge  on  his  socially-elegant  family,  who  thwarti 
his  love  affair  with  his  sweetheart.  But  Sylvia  turns  tl 
tables.  Miss  Sidney  is  lovely,  but  Gene  Raymond  easily  mak 
it  his  picture.    A  newcomer,  Ann  Sheridan  is  good. 


a 


v  e  s  Yo  ur    Picture    Time    and    Money 


it 

\TTLE— 

tn 

«anoff 
W. 


^gs  ' 

:    (^ 

HI 

STRANGE 

WIVES— 

Universal 


THIS,  the  English  version  of  a  famous  French  film,  is  a 
Jjpicture  of  enormous  power.  If  you  want  light  entertain- 
m,  it  won't  do.  For  it's  tragic  and  tensely  moving,  this 
una  of  a  Japanese  naval  officer  (Charles  Boyer)  and  his  love 
Shis  flower-like  wife  (Merle  Oberon)  whom  he  is  willing  to 
arifice  in  order  to  obtain  admiralty  war  secrets  from  an 
lish  attache.     Superb  direction  and  photography. 


1 VICKED 
WIAN— 

v\G-M 


IF  you  think  in-laws  are  a  joke,  you'll  appreciate  Roger 
Pryor's  predicament  when  he  married  a  Russian  Princess 
and  in  walk  in-laws  Ralph  Forbes,  Cesar  Romero,  Esther  Rals- 
ton and  Valerie  Hobson,  with  servants  and  swank,  for  Pryor 
to  support.  Then  comes  a  one  man  revolution  and  Roger 
marries  off  the  whole  tribe  to  his  friends.  Walter  Walker,  as 
papa  of  the  clan.  June  Clayworth,  as  the  wife,  are  A-l. 


EVENSONG— 

Gaumont- 

British 


''LEAR,  clean  cut  characterizations  by  the  cast  lift  this  trite 
M'story  into  the  ranks  of  interesting  entertainment.  Mady 
-Hstians,  kills  her  husband  to  protect  her  family  and  hiding 
Hi  crime,  flees  with  her  children.  When  she  falls  in  love  with 
Varies  Bickford,  her  son's  boss,  it  becomes  necessary  for  her 
cbonfess  the  murder.  All  ends  well,  however.  Jean  Parker, 
3  ty  Furness  prominent  in  strong  supporting  cast. 


M  A 

T1EF— 
trners 


MUSIC  lovers  especially  will  welcome  the  wealth  of  grand 
opera  in  this  film,  and  Evelyn  Layes'  beautiful  singing. 
The  story  is  the  rise  and  fall  of-  a  great  prima  donna — her  first 
success,  her  triumphs,  her  final  defeat.  Miss  Laye  has  an 
exacting  role,  musically  and  dramatically,  and  she  fills  it 
admirably.  Fritz  Kortner,  Muriel  Aked,  Carl  Esmond,  and 
the  entire  cast,  are  adequate. 


WEST  OF 
THE  PECOS- 
RKO-Radio 


\\  ELS,  jewels,  who  has  the  jewels?  Everybody  looks 
Jifilty:  Ricardo  Cortez.  Mary  Astor,  Dudley  Digges,  Irving 
Ppel,  and  the  rest  of  the  cast.  Slow  and  confusing  in  spots, 
1  story  of  a  missing  diamond  necklace  keeps  you  guessing 
i  the  last  reel.  If  your  interest  in  the  diamonds  wanes,  there's 
i  ysterious  murder  and  a  nice  love  story  to  keep  it  sustained. 


HERE  is  a  good  Western — moving  swiftly,  with  comedy 
situations  sprinkled  in,  and  several  new  story  twists.  The 
cowboy  hero  is  Richard  Dix,  who  goes  to  San  Antonio  to  round 
up  a  gang  of  crooks,  and  meets  up  with  Martha  Sleeper,  dis- 
guised as  a  hard-boiled  boy,  her  father,  Samuel  Hinds,  and 
Sleep  'n'  Eat,  and  Louise  Beavers.  Dix  is  splendid. 
[additional  reviews  on  page  112  ] 

73 


Mitzi  s  Hollywooc 


thought  I,  little  lamb  Shirley  wouk 
"pipe  her  eye"  because  of  that,  for  si, 
a  very  good  little  girl.     No,  she 
autographing   a    photograph,    and   ■ 
photograph  was  going  to  a  little 
whose   mother   had   just   died.     Li  • 
Shirley     pleaded     through     her    te; 

"Can't  we  help  the  poor  little  ch. 
mummy  dear?"    The  darling! 

But  suddenly,  as  a  loud  and  hea 
smack  smote  my  ears  my  sorrow  ti 
wings.  I  looked  around.  Lovebi; 
Tom  Brown  and  Anita  Louise.  T 
girl  is  such  a  beauty.  When  I  get  fil 
rich  I'm  going  to  take  an  option  on 
and  just  sit  around  and  look  at  t 
cameo  profile.  Mister  Brown  was  lun 
ing  in  make-up  and  had  been  wait 
for  Anita.  She  came  tripping  hapj 
in,  and  smack,  they  were  in  each  oth 
arms  before  you  could  flutter  your  c 
lashes! 

After  lunch  they  came  over  to 
hullo  and  goodbye.  It  was  the  ni 
Anita  was  leaving  as  a  guest  on  the  i 
crack  speed  train,  and  it  was  a  fori 
Tom  who  tried  to  put  on  the  big  brav 
act.    I  said,  "  Separation's  good  for  h 


Well,  Mr.  William  S.  Van  Dyke  knows  how  to 
direct  parties  as  well  as  pictures.  He  gave  one 
recently  to  initiate  the  new  playroom  in  his 
Hollywood  home.  With  Helen  Morgan  on  his 
right,  and  Mitzi  on  his  left,  Mr.  Van  Dyke  is 
playing  the  role  of  perfect  host 


DEAR  JOAN: 
I  got  the  weeps!    I  got  the  sniffles!    My  heart  breaks 
for  our  little  Shirley  Temple,  for  she  sat  not  ten  feet 
away  at   the   Assistance  League,   lunching   with  her 
mama,  and  the  tears  just  rolled  down  her  sweet  little  face. 
What  was  the  trouble?    I  did  notice  spinach  on  her  plate,  but, 


Jean  certainly  looks  beautiful  at  a  typewriter!  Imagine 

her  mother  being  scared  she  might  not  photograph  well! 

Mitzi  asked  Miss  Harlow  about  that  new  novel  she 

is  writing.     But  Jean  was  too  modest  to  talk 


-Go-Round 


/T  certainly  is  a  star-studded  ex- 
istence that  girl  Milzi  leads!  One 
round  of  gaiety,  with  handsome  he- 
roes and  beautiful  heroines  around 
every  table.  There  is  a  tearful 
note'  in  this  letter,  however,  but  it 
doesn't  last  long!  She  tells  every- 
thing, too — from  complexion  secrets 
to  how  Nelson  Eddy  and  the  lovely 
Jeanette  Mac  Donald  sang  to  each 
other  in  very  flat  notes!  It  was  all- 
in  fun,  of  course.  Which  is  the  way 
everything  is  for  Milzi! 


Mitzi  says  she  thought  Bill  Gargan's  face  looked  familiar, 
but  she  didn't  recognize  the  body.  Reason,  Bill  is  re- 
ducing. Lost  thirty  pounds,  by  diet.  His  wife  is  worried 
about  him.  But  even  while  Mrs.  Gargan  pours  his  tea, 
Bill  says,  "No  sugar,  thank  you" 


Anita.  It  will  make  him  appreciate  you."  But  when  I  looked 
nt  the  poor  guy  my  hard  heart  melted  and  I  added,  "I  guess 
that  isn't  necessary,  is  it?"  He  shook  his  head  quick.  Then 
Anita  turned  a  melting  look  on  him  and  they  both  dissolved  in 

'  a  mist  of  love!    Wheeeeeeeeeee! 

About  this  time  I  noticed  a  gentleman  nearby  eating  a  salad. 
The  face,  as  the  saying  goes,  was  familiar,  but  I  couldn't  place 

-  the  body!  No  wonder.  Bill  Gargan  less  his  thirty-three 
pounds!  His  proud  missus  told  me  that  she  practically  has  to 
force-feed  him,  she's  that  afraid  he'll  be  snitching  Baby  LeRoy's 

I  parts! 

Did  I  mention  how  I  bumped  into  Dick  Powell  at  the  desk  of 
his  apartment-hotel  one  night  when  he  was  trying  to  cash  a 


Mitzi  says  Alice  White's  home  and  husband  are 
so  important  to  her,  just  to  talk  to  Alice  gives  one 
an  urge  for  domesticity.  Here  is  the  happy  couple, 
Mr.  and  Mrs.  Cy  Bartlett,  sitting  side  by  side  at  a 
party  and  getting  a  huge  kick  out  of  it 


check?  Not  important,  dear,  but  cute.  He  had  an  in 
dorsed  check  for  $6.79,  but  the  cashier  had  no  change, 
so  she  gave  him  seven  bucks  and  then  bade  him  cross 
his  heart  and  take  an  oath  he'd  bring  back  the  twenty- 
one  cents  in  the  morning !  Dick  made  a  solemn  promise ! 
As  he  turned  to  leave,  the  seven  dollars  clutched  in 
his  fist,  he  bumped  squat  into  Georgie  Stone,  that  par- 
excellent  little  actor  you've  always  raved  about.  They 
shook  hands  like  they  hadn't  seen  each  other  in  years, 
and  they  hadn't,  even  though  both  had  been  living  in 
the  same  place  for  ages!  They  made  a  date  for  break- 
fast the  following  morning,  and  I  made  a  date  for  dinner 
with  Georgie  right  that  night. 

Last  week  I  got  a  hankering  to  see  my  old  friend,  Ann 
Dvorak,  for  whom  I  made  wise  predictions  when  she  was  in  the 
M-G-M  chorus.  So,  I  slipped  into  my  motor  and  whisked  over 
to  Warners,  where  she  acts.  We  went  for  a  spot  of  lunch  at 
which  Alice  White,  another  old  friend,  joined  us.  There's  no 
nonsense  about  them  gals,  lambie.  Glamorous  actresses,  sure, 
but  their  homes  and  husbands  loom  so  important  in  their  lives 
that  before  the  meal  was  over  I  was  feeling  the  urge  of  domes- 
ticity so  strongly  I  nearly  lassoed  a  strange  (and  attractive!) 
man  at  the  next  table! 

First  off,  Annie  the  cow  is  the  pet  of  Ann  the  actress.  And 
every  Sunday  morning  Annie  moos  somep'n  dreadful  until  her 
mistress  comes  out  and  says  hullo.  How  does  Annie  know  it's 
Sunday  ...  the  only  day  Ann    [  please  turn  to  page  113  | 

75 


The  New  Ambitions 
of  Joan  Crawford 


t: 


'HE  time  is  so  short — 
and  there's  so  much  to 
do—" 

I  had  just  asked  Joan 
Crawford  about  her  plans  for  the 
future. 

I  hadn't  talked  with  her  for 
any  length  of  time  since 
twelve  years  ago,  when 
she  was  an  unhappy, 
work-weary  student  at  a 
Missouri  college.  From 
the  future  then,  she 
wanted  desperately  free- 
dom, recognition,  a 
chance  for  expression, 
and  some  security  — 
ihings  she  had  never 
known  then. 

The  woman  who  now 
sat  across  from  me  be- 
neath the  white  pergola 
in  the  garden  of  her 
BrentwoodHeightshome 
had  all  of  those  things. 

She  had  carved  a  monu- 
mental career  out  of  noth- 
ing.     She   had   satisfied   a 
consuming  inner  demand  to 
be   somebody.      She   was   a 
star,  one  of  the  greatest  stars 
in  the  movie  heavens  —  high, 
shining  brilliantly. 

From  where  we  sat  we  could 
see  the  perfectly  appointed,  sub- 
stantial  house,    which   painters 
and  decorators  were  then  re- 
modeling to  meet  her  whims.  The 
expansive  swimming  pool  flanked 
by  her  newly  erected  little  theater 
and  a  bath  house  spoke  eloquently 
of  the  comfort  and  stability  she  had 
achieved. 

The  woman  who  sat  across  from  me 
in  a  white  lawn  chair,  looked,  in  the 
pergola-filtered   sunshine,    very   much 
like  the  college  girl  I  had  known. 

Joan  Crawford  turned  in  my  direction 
the  same  clean  carved,  faintly  freckled 
face  with  its  wide,  intense  blue  eyes.   She 
smiled   with   the  same  generous  mouth; 
shook  the  same  auburn  tinted  locks  over 
her  shoulder. 

But  all  her  security,  her  fame,  triumphs, 
possessions  —  somehow    I    forgot    them. 

For  beneath  the  mobile  masque  of  the  actress 
was  also  that  same  restless,  harried  look,  which 
had  made  you  look  twice  at  that  vital  college  girl 
and  wonder  what  it  was  she  wanted  out  of  life! 

76 


That  tense 


That  shadowed  crevice  between  her  brows, 
tug  at  her  under  lip. 

Eager,  insistent,  seeking— for  something  more— struggling 
against  restraining  bonds — 

"  The  time  is  so  short."    Short?    For  Joan  Crawford,  still 
in  her  middle  twenties? 

"  My  contract  calls  for  three  pictures  a  year,"  she  told  me, 

"with  an  option  for  a  'special '  picture.    So  it  may 

mean  four.     I  never  know  how  long  they'll  take. 

'Dancing  Lady'  took  five  months.    I  never  know 

when  the  next  one  will  start.    I  can't  plan  on  any 

definite  free  time  between  pictures. 

"And  when  I'm  working,  all  of  my  energy,  all  of 

my  time,  goes  to  the  picture.    I  can't  do— I  can't 

even  think — of  anything  else.    Everything  has  to 

be  so  perfect." 

I  know  what  she  means.  Joan  Crawford  doesn't 
have  one  costume  fitting— she  has  five  and  six 
for  each  gown.  One  make-up  doesn't  last  her 
through  the  day.  Each  noon  she  spends  her 
lunch  hour  changing  to  fresh  make-up— eats  in 
ten  minutes. 

Sundays  are  her  only  days  off.  She  spends 
them  learning  new  lines  or  a  new  dance 
routine.  Nights,  spare  minutes,  meals— she 
never  relaxes  during  a  picture.     Her  nervous 


U 


Above,  Joan  Crawford  and  Clark  Gable  in  a  scene  from 
"Chained."  Left,  Joan  on  her  way  to  work.  For  her 
now  there  are  no  holidays  or  vacations.  Every  min- 
ute's time  is  taken :  work,  study  rehearsals,  more  work. 
Yet  she  says,  restlessly,  "I  can't  just  sit  back  and  be 
a  star" 


Today  she  is  one  of  the 
brightest  stars  shining 
in  the  cinema  heavens, 
yet  she  sets  new  goals 
for  herself  to  attain 

By  Kirtley  Baskette 


:iergy  is  taxed  to  exhaustion.  She  worries  until  her  stomach 
ckens— she's  made  that  way.  A  picture  takes  everything- 
verything— from  her,  leaving  nothing  with  which  to  accom- 
|lish  the  things  that  she  feels  must  be  done.       . 

I  asked  her  if  she  didn't  think  maintaining 

movie  star's  career  was  enough. 

"But  I  can't  just  sit  back  and  be  a 
tar,"  she  said.    "I've  got  to  justify 
my  life.    I  have  to  develop.    I  need 
Jo  many  things— so  many  things. 
1    need   the   experience   of    the 
a  age.     Not  only  for  my  work 
put  for  me. 

i  "I  haven't  enough  self  con- 
i&dence.  I  haven't  enough 
poise.    It  makes  me  miserable." 

In  the  middle  of  a  scene  of 
"Forsaking  All  Others,"  Joan 
Las  working  with  her  back  to 
;the  door  of  the  sound  stage. 
Suddenly  she  stopped,  taut. 
She  hadn't  seen  anything.  She 
ihadn't  heard  anything, 
ishe   knew    that   someone 


But 

had 


Crawford  seven  years  ago, 
Joan  of  "Rose  Marie."  She 
has  learned  so  much  since 
then,  and  gone  so  far,  it  seems 
entirely  possible  that  her 
present  plans  and  ambitions 
for  the  future  will  be  attained 


Crawford  of  today —beautiful  and  glo- 
riously successful.  Yet  she  is  find- 
ing no  satisfaction  in  fame,  and  Holly- 
wood, once  so  important,  means 
nothing  to  her  today 


come  into  the  place  who  was  criticizing 

her,  mentally.    Someone  had  entered,  who, 

unlike  the  crew  and  the  cast,  wasn't  with  her. 

She    turned    around.      Another    star    had 

slipped  in  to  watch  her  work.     Joan  had 

sensed  the  measuring  mind.    She  couldn't  go 

go  on  until  the  visitor  had  left. 

"That  isn't  poise,  certainly,"  she  declared. 
"Even  previews  are  torture  for  me.  I  can't 
eat  for  hours  before.  I'm  a  wreck  when  they're 
over. 

"That's  what  I've  got  to  conquer.  And  the 
only  thing  that  can  do  it  is  the  stage.  I  don't 
want  the  fame  of  the  stage,  I  want  the  ex- 
perience. 

"  It  isn't  the  money,  either.  If  I  could  have 
the  time  off,  the  studio  could  take  any  extra 
profits.  But  I  haven't  the  time.  I'd  need  six 
months.  But  when  have  I  ever  had  six 
months?     When  will  I?" 

The  crevice  between  her  brows  deepened. 
Then  her  tense,  earnest  face  relaxed  with  a 
smile. 

"Of  course,"  she  admitted,  "the  very 
thought  of  it  scares  me  to  death.  I  would  be 
petrified,  I  know.  But  I  must  do  it.  That's 
one  reason  I  built  the  theater  here." 

We  walked  over  to  the  famous  and  some- 
what mysterious  [  please  turn  to  page  101  1 

77 


NEW  GROWTH-OR  FACTS 
ABOUT  BEAUTY  AIDS 


The  hair  vogue  that 
captured  the  world's 
fancy,  and  a  favorite 
fashion  with  the 
Parisian  manikins  at 
the  moment.  The 
traditional  Hepburn 
bangs  reappear,  this 
time  in  "The  Little 
Minister."  Another 
Hollywood  sweep- 
ing fashion! 


Brushing  for  beauty 
is  a  legend  as  old  as 
Mother  Goose,  but 
Helen  Vinson 
knows  the  grand  re- 
sults.  Upward 
strokes,  advises 
Helen,  with  a  ripple- 
bristle  brush  polish 
every  strand,  en- 
courage a  rapid  cir- 
culation 

78 


ANNA  STEN  at  a  recent  reception  in  New 
York,  an  engaging  picture  in  gold  and  white, 
from  her  simple  white  crepe  gown  with  jacket  em 
broidered  in  huge  gold  medallions  to  her  golden 
hair  brushed  back  from  her  face.  A  striking  face  is 
Anna's.  Her  blue  eyes  are  wide  apart,  giving  her 
face  a  deep  sense  of  repose.  Her  lips  are  pleasinglv 
full,  her  cheekbones  and  jawline  prominent  ami 
strong.  A  mobile  face  for  the  camera  because  the 
contours  and  features  are  expressive  and  emotion 
can  play  fleetingly  and  subtly  on  this  type  of  face 
without  obvious  effort. 

In  a  low,  husky  voice  Anna  tried  to  explain  away 
the  mystery. of  her  hibernation  in  Hollywood  for 
more  than  a  year.  With  the  aid  of  four  or  five 
tutors  the  Russian  girl  had  to  learn  English.  The 
designers  and  make-up  experts  had  to  experiment 
with  the  right  clothes  for  Anna,  the  make-up 
touches  that  would  translate  the  true  spirit  of  her 
roles  on  the  screen.  It  was  all  a  matter  of  growth. 
new  growth  for  the  little  Russian.  Then  the  public- 
was  introduced  to  her  as  Nana  and  Katusha.  As 
Katusha,  especially,  I  believe  she  will  live  in  our 
memory  for  a  long,  long  time. 

Anna's  experience  in  Hollywood,  growing,  study- 
ing, working,  has  prompted  me  to  a  message  of 
what   f  hope  will  be  practical  help  to  those  of  you 


June  Lang,  in  the  first  act  of  a  play  to- 
ward nicer  eyebrows.  June  thinks  al 
brows  improve  with  a  mild  tweezing  of 
the  outer  ends,  and  advises  first  the  ap- 
plication of  cream  to  ease  the  operation 
or  compresses  wrung  out  of  hot  water 
or  skin  tonic 


/\\   the   beauty 

-icks  of  all  the       PHOTOPLAY'S   HOLLYWOOD 

""w:i   BEAUTY  SHOP 


y)u  eac 


h 


mi 


Conducted 
By  Carolyn 
Va  n  Wy  ck 


(Jo  read  my  department  and  write  to  me.  Your 
tiers  are  especially  significant.  A  desire  to  be 
kelier,  to  correct  your  small  physical  imperfec- 
I  ns  and  to  make  an  effort  to  do  so.  For  even  that 
Iter  takes  some  of  your  precious  time. 

There  is  a  keen  feeling  of  skepticism  in  the  world 
i  lay.  We  have  seen  the  ideals  and  standards  that 
v  were  taught  to  believe  in  crumble.  People  and 
lings  have  failed  us,  so  that  we  hardly  know  what 
i  believe  anv  more.  I  think  this  sense  of  skepti- 
cm  applies  to  many  of  us  in  many  ways,  so  it  is 
i  h  an  effort  to  give  you  a  straight  story  on  your 
llrsonal  appearance  and  physical  growth,  as  relates 
fthis  angle,  that  I  sit  before  my  typewriter  now. 

iW'ithout  the  many  aids  that  we  have  developed 
t'  promote  good  looks,  we  should  certainly  all  be 
ft  less  attractive  than  we  are  today.  Thirty-five 
\iirs  ago,  the  girl  of  twenty-five  usually  looked 
tenty-five  or  more.  Today  it  is  difficult  to  guess 
Aether  a  trim  figure  is  actually  twenty-two  or 
lirty.  The  modern  woman  seems  to  gain  her  full 
(Jarm  around  forty. 

The  reason  for  this  welcome  change  is  perhaps, 
tfet,  a  different  attitude  toward  age.  And,  second, 
tp  sensible  care  that  we  have  been  educated  to  use 
\jth  ourselves.  I  feel  that  the  years  from  sixteen 
c  should  bring  new  and  better  growth,  both  in- 


N 


the  interest  of  lovely  hands,  June 
ng  works  conscientiously.  June 
;Ows  that  a  nightly  application  of 
tide  cream  or  oil  prevents  hangnails 
d  flaking,  broken  nails,  and  encourages 
:  new  growth  to  be  smooth  and  flaw- 
less under  lacquer 


A  typical  Antoine  of 
Paris  idea.  Several 
layers  of  muslin,  a 
handful  of  pins,  a 
rosebud  or  two  be- 
neath the  chin,  and 
Cecilia  Parker  looks 
charmingly  ingenue 
in  a  babyish  bonnet 
for  evening.  Can  be 
made  by  yourself  in 
no  time 


Antoine's  sculpture 
curls  on  the  head  of 
Muriel  Evans. 
Movement  is  up- 
ward, in  the  ap- 
proved style,  and  in- 
teresting design  is 
worked  out  here  and 
there  with  unusual 
curls  in  a  true  An- 
toine manner.  A 
party  idea 


Phyllis  Brooks  posed 
in  this  complete 
series  of  coiffure  pic- 
tures to  give  you  a 
pattern  for  your  own 
hairdresser  to  fol- 
low. Here  is  a  sit- 
uation we've  all 
been  through!  Not 
much  to  look  at  now, 
but  just  wait 


Mel  Berns  designed 
this  arrangement  for 
Betty  Grable,  named 
it  "Petite  Coiffure." 
Across  the  page  is  a 
better  view  of  the 
hair  ribbon  vogue, 
of  which  Ho  fly- 
wood  has  long  been 
an  ardent  sponsor  for 
the  young  girl- 


Two  poses  of  Phyllis  that  show  the  details  of  both  sides  and  top  design. 
Innumerable  tiny  invisible  hair  pins  hold  waves  and  curls  in  place  for  the 
dryer.  Important  steps  in  the  achievement  of  a  coiffure  known  as 
"American  Beauty,"  so  named  because  John  LeGatta,  famous  artist,  con- 
siders Phyllis  one  of  the  truest  types  of  American  girl 


wardly  and  outwardly.  And  so  I  proceed  with  some  actual  growtl 
facts  that  should  encourage  every  one  of  us  to  some  effort  and  patience 
Most  of  us  will  make  the  effort  but  when  it  comes  to  patience  we  fal 
down.  We  should  like  to  find  the  cream  that  will  transform  us  ove 
night;  the  hair  tonic  that  will  instantly  give  us  silken  hair.  Well,  then 
just  aren't  any,  and  lacking  these  magic  aids,  many  are  inclined  t( 
give  up.  However,  if  you  can  make  that  effort  and  bolster  up  youi 
patience  besides,  here  are  some  of  the  transformations  that  can  taks 
place  over  certain  periods  of  time. 

The  life  of  an  eyelash  has  been  estimated  at  between  three  and  foui 
months.  Each  lash  probably  lasts  about  that  time,  at  the  end  of  whicl 
it  falls  out  and  another  takes  its  place.  If  you  are  not  satisfied  wit! 
your  lashes,  and  few  of  us  are,  the  modern  growers  will  help  you  tc 

produce  a  much  more  satisfactory  crop 
In  fact,  I  think  every  girl  should  use  a 
grower  nightly.  Growers  cannot,  ol 
course,  produce  lashes  entirely  unnatural 
to  your  type,  but  they  can  encourage  a 
heavier  growth,  longer,  stronger  and 
silkier  hairs.  If  you  would  use  a  grower 
steadily  for  six  months,  you  would  see  a 
pleasing  improvement. 

The  same  idea  applies  to  brows.  If 
your  brows  are  scanty,  scraggling,  you 
can  induce  heavier  ones  and  you  can  train 
them  to  grow  in  a  neat  line.  A  little 
grower  on  an  eyebrow  or  dry  mascara 
brush  applied  nightly  not  only  makes  for 
more  brows  but  will  definitely  train  them: 
in  line.  Then,  of  course,  you  will  need  to 
use  the  tweezers  sparingly,  just  as  June 
Lang  is  doing,  to  make  that  line  perfect. 
The  end  is  usually  the  unruly  area.  K 
you  will  apply  a  little  cream  first,  then 
shape,  it  will  be  quick  and  almost  pain- 
less. Hollywood  has  taught  us  that  the 
brow  that  extends  a  bit  beyond  the  outer 


80 


From  this  back  view  of  Phyllis'  head,  plastered  and  persuaded  into  a 
curious  pattern,  will  come  a  revelation  in  soft  loveliness,  witnessed  by 
the  finished  front  picture.  Notice  that  the  hair  is  kept  well  off  the  face, 
softened  only  by  loose,  big  waves,  with  all  the  intricacies  kept  well  to 
the  rear.     An  important  hair  fashion  note  to  keep  in  mind 


:<jier  of  the  eye  is  a  universally  becoming  one.  It  extends  the  upper 
vJth  of  the  face  to  create  the  impression  of  more  oval  lines  to  the 
(ler  part  of  the  face,  and  it  adds  much  expression  to  the  eyes.  The 
ustant  use  of  grower  on  the  outer  brows  will  grow  new,  fine  hairs  in 
ike.  For  immediate  need,  however,  your  finely  pointed  eyebrow 
»cU  solves  the  problem.  With  a  very  light  stroke,  because  even 
»ws  here  will  be  lighter,  extend  the  brow  line  a  tiny  bit. 
ikin  growth  occurs  daily.  With  every  bathing  or  creaming,  we  not 
Jy  take  away  make-up,  oil  and  dust,  but  a  certain  amount  of  dead 
"  icle  is  also  removed.  And  usually  it  is  this  dead  cuticle,  more  than 
i|imperfect  texture  or  a  small  blemish,  that  mars  your  beauty  sooner 
In  anything  else.  For  this  dead  cuticle  is  usually  dull  in  tone,  and 
c,?ps  your  face  from  looking  radiantly  fresh.  A  very  thorough  cleans- 
i{  is  about  the  greatest  skin  beautifier 
■•re  is.  The  Hollywood  stars  have  solved 
t  cleansing  method  about  as  perfectly 
it  can  be  solved  for  normal  skin.  First, 
ij;ood  cream  cleansing  to  remove  make- 
'.  Then  a  good  bathing  with  soap  and 
Iter.  Finally,  much  rinsing  in  very  cold 
■iter  or  the  use  of  any  favorite  skin 
ion.  You  are  bound  to  be  spotless  after 
;it.  Certainly  a  cream  which  melts  and 
.solves  your  rouge  and  powder  is  easier 
f  removing  make-up.  And  certainly 
!  s  extra-thorough  use  of  soap  and  water, 
th  which  you  produce  friction  through 
.  of  hand,  cloth  or  complexion  brush 
i  only  cleans  but  removes  that  cuticle 
iiich  is  daily  shedding. 
If  your  skin  is  very  dry  and  you  suffer 
i>m  the  frequent  use  of  soap  and  water, 
?n  balance  your  cleansing  routine,  per- 
;ps  soap  and  water  every  other  day  or 
,  ice  a  week.  When  you  have  cleansed 
;th  cream  alone,  give  yourself  a  friction 
b.    With  a  [  peease  turn  to  page  100  ] 


Only  clever  fingers 
and  great  patience 
can  produce  a  mas- 
terpiece of  hair- 
dressing  like  this. 
But  the  effort  is  well 
worth  the  result  for 
a  coiffure  like  Phyllis' 
con  tri  butes  much 
style  and  charm  to 
most  faces 


Details  of  the  tiny 
tailored  bows  that 
hold  Betty  Grable's 
curls.  These  with 
your  daytime  clothes, 
but  for  evening  vel- 
vet or  lame  ribbon  is 
the  thing,  contrasting 
with  or  matching 
your  dance  frock. 
Very  girlish! 


81 


<!<! 


Cast  and  crew  of  Columbia's  "Passport  to  Fame"  stop  work  for  their  four  o'clock  cup  of  oolong.   Eddie  Robinson 
is  pouring  tea  for  Director  John  Ford.  This  is  only  one  English  habit  American  stars  brought  back 

Awfternoon"  Tea 


are  now 


I  SAY,  old  thing,  have  you 
heard    the    news?     Holly- 
wood— chummy  old  place, 
don't  you  think — has  gone 
English.    My  dear,  it's  too  jolly 
and  all  that  sort  of  thing.   I  say, 
what? 

American  actors  have  been 
flocking  to  good  old  Lunnon — 
nice  old  spot,  Lunnon,  rath-er — 
and  by  Jove,  they've  brought 
back  with  them  all  sorts  of  cozy 
little  English  habits  and  customs  and  well,  here  we  are.  Stalk- 
ing about  like  a  retired  British  officer  with  a  load  of  asthma  and 
a  yen  for  suet  pudding. 

Good  old  Americans,  who  never  drank  anything  but  strong 
coffee  and  applejack  straight,  are  now  hoisting  tea-cups,  eating 
watercress  sandwiches  and  loving  it.  Nobody  hurries  anymore. 
Nobody  hustles.  Nobody  shoves.  And  fancy  anyone  shoving. 
Everyone,  British-like,  just  takes  his  time.  No  need  to  go 
scampering  about  good  old  Hollywood-on-the-Downs.  Tisn't 
British  and  all  that  sort  of  thing. 

82 


Yes,  dear  old  Hollywood- 
on-the-Downs  has  gone  so 
British,   the   best   of  stars 
hoisting  tea  cups 


By  Jane  Hampton 


Actors  who  once  raced  across 
movie  lots  like  hound-chased 
rabbits  (and  ofttimes  it  was  the 
sheriff  instead  of  a  hound)  now 
saunter,  calling  a  merry  old 
"Cheerio  there,"  as  they  go. 

The  only  "pip"  America  ever 
knew  before  the  return  of  the 
Americans  from  England  was  a 
disease  which,  unfortunately, 
but  through  no  one's  fault  but 
their  own,  and  let  that  be  a  lesson 
to  them,  gave  a  chicken  the  yaps.  A  couple  of  pips  were  simply 
two  chickens  with  the  yaps.  But  not  now.  My  dear,  you're  far. 
far  wrong  if  you  think  "Pip  pip"  has  anything  at  all  to  do  with 
a  couple  of  ailing  chickens.  It's  now  Hollywood's  favorite  form 
of  saying,  "Farewell,  a  fond  farewell." 

Actors  no  longer  say  to  their  lady-loves,  "Darling,  good- 
night. The  dawn  breaks  and  so  does  my  heart  at  this  sad  part- 
ing.   Farewell,  sweet  one,  farewell." 

Today  he  merely  says,  "Well,  pip  pip  old  thing,"  and  leaves 
the  lady  yapping  like  a  chicken.      [  please  turn  to  page  98  \ 


Here's  the  Standard  for  Beautiful  Legs  and  Feet 


Listen,  you  babies,  watch  that  lump  of  fat 
i  the  inside  of  the  knee.  It  will  spoil  your 
lances  of  beauty  in  a  bathing  suit.     Lots  of 

rls  ask  me  what  to  do  about  knock-knees. 
[aM  the  time  it  isn't  the  knees  that  are 
nocking;  it's  those  lumps  of  fat  on  the  knees, 
errible!  The  calf  of  the  leg  should  be  well 
junded  but  not  muscular. 

You  girls  with  over-developed  calves — it's 
fie  escalators  for  you.  Don't  climb  steps! 
)on't  tap  dance!  Don't  ride  bicycles!  Don't 
o  any  kind  of  Russian  dancing!  But  you 
ids  with  canary  bird  legs  can  do  all  of  these 
flings.  These  things  develop.  They  do  not 
■educe.  But  I've  got  the  perfect  reducing 
xercise  for  the  lower  legs,  calves,  ankles  and 
:et.  I've  never  given  it  before.  Are  you  ready? 

Sit  flat  on  the  floor  with  your  legs  straight 
ut  in  front  of  you,  the  knees  straight  and 
our  toes  pointing  to  the  ceiling.  Place  the 
alms  of  your  hands  on  the  floor  slightly  out 
rom  your  sides.  Slowly  raise  yourself  up  with 
our  weight  on  the  palms  of  your  hands. 
Is  you  do  this  slowly  point  your  toes  away 
rom  your  body  so  that  your  legs  from  hips  to 
oe  are  in  a  straight  line.  Raise  up  higher 
mtil  your  whole  weight  is  on  your  hands  and 
rour  heels.  Can  you  feel  a  pulling  in  your 
egs?  Can  you  feel  the  fat  breaking  away 
rom  that  lump  on  your  knees? 


[  CONTINUED  FROM  PAGE  57  ] 

Just  as  slowly — and  keeping  as  relaxed  as 
possible — lower  yourself  to  your  original 
position,  move  your  feet  so  that  the  toes  are 
pointing  toward  your  face  and  at  the  same  time 
make  believe  that  you're  trying  to  push  some- 
thing heavy  with  your  heels — push  the  heels 
in  the  opposite  direction  from  the  way  the  toes 
are  pointed.  Don't  be  afraid  to  pull  and  pull 
hard.  Do  this  until  your  toes  are  pointed  just 
as  far  as  they'll  go.  When  you  feel  that  big 
pull  in  all  the  fat  spots,  you're  on  the  way  to- 
ward having  perfect  legs. 

"DUT  that's  not  all.  You've  got  to  have 
lovely  upper  legs,  too.  Look  at  Gertrude 
Michael — -and  that's  not  a  bad  idea.  You  re- 
member her  in  "Cleopatra."  The  upper  part 
of  her  legs  are  beautiful  and  I  don't  blame  her 
for  posing  in  photographs  to  show  them. 
They're  slender  with  no  bulges,  no  bumps,  no 
protruding  muscles.  The  upper  leg  is  a  place 
where  fat  is  most  likely  to  gather.  Fight  it! 
You've  got  to,  because  those  lumps  show  when 
you're  dressed.  And  in  a  bathing  suit!  I  can't 
stand  it!  Get  rid  of  that  fat  on  the  front  and 
back  of  the  upper  leg.    Here's  the  exercise. 

Stand  a  little  away  from  and  at  right  angles 
to  the  back  of  a  chair.  Put  your  left  hand  on 
the  back  of  the  chair.  Stand  on  your  left 
foot.    Lean  over  at  the  waist.    Put  your  right 


hand  back  of  you.  Lift  your  right  leg  back. 
Grab  your  right  ankle  with  your  right  hand 
and  pull  it  up  toward  your  back,  bending  the 
knee.  Pull  hard.  Ouch!  Yell  if  you  want 
to — but  do  it!  Stoop  over  as  you're  doing 
this.  Now  let  go  your  ankle  and  swing  the 
right  leg  forward  and  grab  your  ankle  with 
your  right  hand  in  front  of  you  this  time. 
Keep  your  knee  slightly  bent.     Pull  hard. 

That's  a  new  exercise,  too,  but  I  want  to 
warn  you,  as  I  do  with  all  my  exercises,  relax! 
Relax  your  muscles  while  you're  doing  the 
exercises.  For  if  you  don't,  you'll  develop 
muscles  instead  of  reducing  them  off  as  you 
should.  Oh  yes,  when  you've  done  this 
exercise  on  one  leg  repeat  on  the  other.  But  I 
hope  to  heaven  you've  got  the  brains  to  do 
that  without  my  telling  you. 

Okay,  babies,  there  you  are — Gloria's  feet, 
Joan's  ankles  and  lower  leg  and  Gertrude's 
upper  legs.  They're  perfect  and  there's  not  a 
reason  in  the  world  why  you  can't  have  them 
just  as  beautiful.  Don't  be  lazy.  Don't  put 
off.  Do  what  Sylvia  tells  you  to  do.  And 
while  you're  exercising  stick  on  the  diet  wagon. 

And  now  I've  gone  and  used  up  all  my  space 
and  haven't  told  you  how  to  have  lovely  arms 
and  hands.  So  watch  out  for  my  article  next 
month.  I'm  setting  the  standard  for  arms, 
hands  and  backs! 


Answers  by  Sylvia 


Dear  Sylvia: 

I'm  only  fifteen  but  I'm  terribly  fat.  Be- 
:ause  of  this  I  don't  have  dates  like  other  girls. 
My  mother  tells  me  not  to  worry,  that  I'll 
outgrow  it.  But  I  do  worry  and  outgrowing 
t  doesn't  help  me  now.  I'm  writing  to  you 
with  the  hope  that  you'll  help  me. 

B.  G.,  Fort  Smith,  Ark. 

I  feel  so  sorry  for  young  girls  whose  mothers 
'tell  them  they  will  outgrow  fat.  Maybe  they 
will,  but  fat  isn't  pretty  and  every  fifteen- 
year-old  girl  wants  to  be  pretty.  Besides,  fat 
isn't  good  for  anybody,  whether  that  person 
is  fifteen  or  fifty.  Now  I  know  that  my  exer- 
cises and  diets  are  just  as  good  for  young  girls 
as  they  are  for  older  ones.  But,  you'll  ask  me, 
how  am  I  going  to  convince  my  mother  of 
that?  I'll  tell  you.  Send  a  self-addressed 
stamped  envelope  to  me  for  my  general  re- 
ducing diet  and  exercises.  Then  ask  your 
mother  to  take  them  to  her  doctor.  Then,  if  he 
says  they're  okay  she'll  believe  him.  And 
here's  a  little  secret,  baby.  He  won't  dis- 
appoint you,  because  doctors  all  over  the  world 
know  that  every  one  of  my  diets  have  enough 
food  properities  for  anybody. 

Dear  Sylvia: 

I've  tried  very  hard  to  follow  your  diets  and 
exercises  but  in  my  business  I  travel  a  great 
deal  and  it  is  often  difficult  in  trains  and  hotels 
to  get  what  you  recommend.  Is  there  anything 
I  can  do  about  it? 

H.  R.  T.,  Chicago,  111. 

You  bet  there  is !  There  is  always  something 
to  do  about  everything.     And  I  know  that 


ARE  you  too  fat?  Too  lean?  Have 
you  any  physical  defect  that 
mars  your  beauty?  How  are  your 
nerves?  Do  you  sleep  well?  I  shall 
be  glad  to  offer  you  advice — free  of 
charge — of  course.  All  you  have  to 
do  is  write,  enclosing  a  stamped,  self- 
addressed  envelope.  Address  Sylvia, 
care  of  PHOTOPLAY  Magazine,  1926 
Broadway,  New  York  City. 


when  traveling  it  is  difficult  to  stick  on  the 
diet  wagon,  but  here  are  some  things  you  can — - 
and  must — do.  Don't  eat  just  what  is  put 
before  you.  Watch  out  for  rich  sauces.  Scrape 
them  off  the  vegetables.  Refuse  dessert  unless 
it  is  mentioned  in  one  of  my  diets.  Maybe 
you  can't  get  as  many  raw  fruits  as  I  give. 
But  you  can  always  get  apples!  And  tell 
yourself  that  you  are  going  to  try  your  hardest 
to  overcome  your  difficulty  and  live  up  to  my 
routine  as  nearly  as  you  can. 

Dear  Sylvia: 

I  have  very  thin  scawny  legs.    I  don't  want 
to  be  fatter  than  I  am  anywhere  but  in  the  legs. 
Can  you  give  me  some  exercise  to  help  me? 
Mrs.  R.  L.  T.,  Raleigh,  N.  C. 

Tap  dancing  develops  the  legs.  Climbing 
stairs  is  another  wonderful  leg  developer.  But 
the  best  of  all  is  riding  a  bicycle.  If  you  can't 
actually  bicycle  then  lie  on  the  floor  on  your 
back  with  your  legs  in  the  air  and  make  vig- 
orous movements  with  your  legs  as  if  you  were 
pedaling  and  pedaling  hard  and  fast.  Do  this 
for  three  minutes  a  day  at  first  and  then  work 
up  to  ten  or  fifteen  minutes  a  day.    You'll  be 


surprised  how  quickly  your  legs  will  become 
nice  and  firm  and  round,  as  perfect  legs  should 
be. 

Dear  Sylvia: 

Will  you  tell  me  how  to  remove  a  lump  of 
flesh  that  has  come  on  the  back  of  my  neck  at 
the  top  of  my  spine? 

Mrs.  D.  C,  Jeffersonville,  Ind. 

I  call  that  the  "old  woman's  bump."  Now 
don't  tell  me  you're  just  twenty-five.  You 
may  be.  But  hot  or  cold,  that's  an  "old 
woman's  bump."  You  got  it  by  slumping. 
Well,  stop  that.  Straighten  up.  Don't 
slump  any  more.  Then  take  this  exercise  to 
remove  it.  Lie  on  your  back.  Arms  above 
your  head,  backs  of  hands  lightly  touching  the 
floor.  Relax  completely.  Stretch  your  arms 
so  that  you  feel  as  if  your  shoulder  blades  are 
coming  together.  You  can  feel  that  back  lump 
moving.  Now  then  stiffen  your  knees  and  pull 
yourself  forward  with  your  arms  still  above 
your  head  until  your  head  is  touching  your 
knees.  Keep  relaxed  from  the  waist  up. 
While  your  head  is  on  your  knees  make  your 
shoulder  blades  squeeze  that  bump.  From  this 
position  roll  back,  rolling  all  the  way  along 
your  spine  and  touch  your  toes  over  your 
head,  with  almost  the  entire  weight  of  your 
body  resting  on  that  bump.  You  can  feel  it 
smashing  off.  At  first  you  may  be  stiff  but 
keep  trying  until  you  can  do  the  exercise. 
Start  roiling  back  and  forth  like  that  ten 
times  a  day.  Work  up  to  twenty.  I  guarantee 
that  it  will  do  the  trick  and  exercise  your 
diaphragm,  hips,  legs  and  upper  arms  to  boot. 
How's  that  for  you? 


85 


"  fETTING  home  with  the  milkman"  is  an 
^Jold  saying  but  it  actually  happened  to 
Jean  Harlow.  On  her  way  home  from  visiting 
her  friends,  Jean's  car  came  to  a  dead  stop  on 
a  lonely  highway.    She  had  run  out  of  gas. 

For  hours  Jean  sat  there  waiting  for  someone 
to  come  along  and  yet  frightened  that  they 
would.  At  last,  after  what  seemed  years  of 
waiting,  a  milk  wagon  hove  in  sight.  With  a 
welcome  cry,  Jean  hailed  the  driver  and  went 
merrily  home  on  the  milk  wagon. 

A  FTER  Leroy  Prinz,  the  Hollywood  dance 
•'^'director,  fought  that  famous  duel,  and  his 
wife  sued  for  divorce,  someone  asked,  "On 
what  grounds?" 

"Because  he  led  a  'duel'  life,  of  course," 
was  the  reply. 

•""THERE  is  a  writer  in  Hollywood  who  is 
frankly  worried.  He  has  to  kill  a  friend 
and  certainly  loathes  the  job.  You  see,  when 
it  was  decided  that  Dashiell  Hammett  should 
write  a  screen  sequel  to  the  popular  "Thin 
Man,"  it  was  found  that  one  of  the  number 
would  have  to  be  killed  off  in  order  to  form  a 
plot.    But,  who  to  kill  was  the  question. 

The  author  has  become  so  fond  of  all  his 
characters,  he  can't  bear  to  commit  the  nec- 
essary crime.  As  you  can  imagine,  every 
member  of  the  original  cast  is  anxiously  wait- 
ing to  see  if  he  will  be  the  victim. 

Hollywood,  at  least,  hopes  the  dashing  Bill 
Powell,  the  lovely  Myrna  Loy  and  the  adorable 
little  dog,  Asta,  will  be  spared. 

/^\NE  day  a  carpenter  on  the  set  of  "The 
^uood  Fairy"  missed  his  bicycle. 

The  next  day  the  Universal  lot  was  treated 
to  the  spectacle  of  their  problem  child,  Mar- 
garet Sullavan,  reeling  furiously  about  the 
studio  on  a  rickety  bike. 

"Five  miles  every  day,"  said  Margaret, 
"that's   the   schedule." 

She  wears  an  amazing  pajama  ensemble  con- 
sisting of  green,  floppy  pants  and  a  red  coat, 
and  stops  for  nothing. 

P.  S. — The  carpenter  got  paid  for  the 
vehicle. 


Cal  York  Announcing  the  Monthly 


"DOB  MONTGOMERY  smiled. 
"^  They  had  just  told  him  of  his 
role  in  "Vanessa,"  the  Hugh  Wal- 
pole  novel  before  the  cameras  at 
M-G-M.  They  had  further  told  him 
that  in  the  prologue  he  would  play 
his  son,  in  the  main  body  of  the  pic- 
ture, himself,  and  in  the  epilogue  his 
sixty-five-year  old  grandfather. 

"The  part  of  my  dreams!"  said 
Bob.  "A  nice  part  you  can  really 
grow  up  with!" 

/"''LARA  BOW  and  Rex  Bell  made  some  well- 
^^advanced  plans  for  the  heir-apparent.  Rex 
just  couldn't  resist  the  temptation  to  buy  a  Shet- 
land pony.  He  had  a  beautiful  little  silver 
mounted  saddle  made,  and  the  pony  is  quar- 
tered in  the  patio,  bedded  down  in  straw — all 
ready  to  leap  on  and  away-we-go.  Of  course, 
the  pony  will  probably  be  an  old  man  with  a 
long  grey  beard  before  the  baby  can  ride — but 
anyway,  it's  a  cute  idea. 

CHIRLEY  TEMPLE  has  decided  to  stay  out 
^of  department  stores  and  all  other  public 
places,  since  an  over-enthusiastic  fan  snipped 
off  one  of  her  curls  the  other  day. 

A  RE  any  of  you  the  facetious  admirers  who 
send  George  Brent's  mail  to  Ruth  Chatter- 
ton's  house?  Because  George  and  Ruth  and 
Warner  Brothers  are  quite  burned  up  about  it, 
and  George  has  reached  the  place  where  he 
doesn't  even  think  it's  funny. 

VITHATEVER  secrets  Josef  Von  Sternberg 
^^  has  about  directing  Marlene  Dietrich  are 
safe. 

Even  the  small  crew  which  officiates  when  he 
makes  a  picture  are  in  the  dark  about  half  the 
time. 

Josef  gives  all  his  directions  to  Marlene  in 
German — and  no  one  else  can  understand  it. 


Director  David  Butler  was  pretty  sure  of  beating  Jimmy  Dunn  in  the 

checker  game,  when  along  comes  Shirley  Temple  and  slips  a  bit  of  advice 

to  her  pal  Jimmy  on  how  to  make  a  strategic  move 

86 


[  CONTINUED  FROM 

T  DON'T   know   whether   Adolphe   Menjou 

would  approve  of  them,  but  Allen  Jenkins 
thinks  they're  a  sartorial  gift  from  heaven. 

His  slippers. 

Allen  hurt  his  toe  a  few  months  ago,  and 
gave  up  shoes  for  slippers.  The  slippers  were 
so  easy  on  his  feet  that  he  tossed  all  his  ox- 
fords into  the  attic. 

Now  he  has  black  slippers  for  evening, 
brown  ones  for  street  wear  and  even  patent 
leather  ones  for  dress.  Not  to  mention  the 
old  broken  down  pair  he  wears  around  the  yard. 

And  no  worries  about  a  broken  shoelace. 

V\  7E  might  have  expected  it  of  a  younger 
actress  but  when  Alice  Brady  suddenly 
disappears  right  in  the  middle  of  "  Gold  Diggers 
of  1935"  and  leaves  Warner  Brothers  wildly 
searching  Heaven  and  earth  for  two  whole 
days,  it's  a  little  unusual. 

What's  more,  when  she  finally  did  show  up, 
Alice  refused  to  explain  anything.  Where  she 
was  and  what  happened,  she  inferred,  was  her 
own  business. 

But  it's  all  very  romantic  to  Hollywood — 
not  to  say  surprising. 

"pVERY  year,  it  seems  Hollywood  has  been 

getting  farther  and  farther  away  from  itself. 
It  used  to  be  quite  satisfied  with  just  Holly- 
wood— then  the  stars  began  moving  to  Bev- 
erly Hills,  then  Brentwood — then  away  out 
in  the  San  Fernando  Valley. 

They  commute,  of  course,  to  the  studios. 

But  now  Genevieve  Tobin  has  moved  into 
her  home  at  Montecito,  the  very  elite  section 
of  Santa  Barbara.  She  is  just  a  little  more 
then  one  hundred  miles  from  the  studios — and 
she  intends  to  commute. 

Meaning  she'll  leave  the  seaside  city  at 
five  bells  or  earlier  in  the  grey  and  misty 
dawn — to  make  an  eight  o'clock  call. 

XJARGARET  SULLAVAN  tripped  blithely 
V  off  the  set  of  "The  Good  Fairy"  a  few  days 
ago.    It  was  noon  time  and  she  was  hungry. 

So  she  hopped  into  her  decrepit  roadster  and 
started  the  engine.  She  let  out  the  clutch. 
Nothing  happened.  She  stepped  on  the  gas. 
Maggie  and  the  motor  roared,  but  nothing  re- 
peated. She  fooled  with  the  brake  and  really 
got  all  hot  and  bothered. 

Then  she  looked  out  and  saw  her  set  play- 
mates— the  grips  and  the  props  and  the  juicers 
— rolling  on  the  ground. 

Margaret  hopped  out  to  find  the  rear  wheels 
spinning  in  the  air.  Jacked  up.  It's  an  old 
gag,  but  it  worked. 

JANET  GAYNOR  and  Shirley  Tenple  were 
both  being  fitted  for  costumes  in  the  ward- 
robe department.  Janet  asked  Shirley  for  that 
autographed  picture  she  promised  her,  and  all 
the  girls  in  the  department  chimed  in  and  said 
they  wanted  one,  too. 

"You  can  all  have  one,"  said  Shirley,  "but 
you'll  have  to  wait  awhile.  I  can  only  sign  two 
a  day  because  it  takes  me  so  long." 

HpHE  mama  of  little  Anne  Shirley,  who  made 
such  a  hit  in  "Anne  of  Green  Gables,"  care- 
fully censors  her  daughter's  romantic  flutter- 
ings.  Anne  is  so  popular  that  mother  had  to 
call  in  an  assistant  to  get  the  front  door-step 
cleared  by  ten  o'clock.  The  lad  she  called 
upon  was  young  Henry  Wilson — and  Henry 
has  a  crush  on  Anne!  "A  pleasure,"  said  he. 


broadcast  of  Hollywood  Goings-On! 


GE  51  I 

kND  the  Gloria  Swanson-Herbert  Marshall 
tete-a-tetes  continue. 
However,  when  Gloria  and  Herbert  under- 
lie an  evening  in  public  at  any  of  the  smart 
arcing  spots  of  Hollywood,  they  invariably 
ek  a  shadowed  nook  with  an  obscure  table. 
Which,  of  course,  makes  people  all  the  more 
i  the  look  for  them— and  all  the  more  excited 
nout  seeing  them  together. 
i 

ipHERE'S  something  about  radio  broadcast- 
ing- 
It's  just  a  strain  on  the  nerves,  even  to 

iasoned  troupers. 

Ever  since  I've  been  broadcasting  news  and 
iterviews  with  the  stars  of  "45  Minutes  in 

ollywood"  each  week,  I've  had  numerous 
ises  of  vacillating  knees. 

But  now  I  feel  all  right. 

I  have  it  on  good  authority  that  Mary  Pick- 
ed almost  cuts  her  reading  sheets  to  pieces 
latching  them  tensely  each  week  when  she 
'ives  a  skit  over  the  air. 

If  it  makes  Mary  all  hot  and  bothered,  why 
houldn't  I  be  embarrassed? 

3  UMORS  that  Margaret  Sullavan  and  the 
•Studio  which  made  her  a  sensational  screen 
tar,  Universal,  were  at  the  parting  of  the  ways 
/ere  somewhat  dampened  down  when  she  up 
;nd  married  Director  William  Wyler. 

Film  mentor  Wyler,  who,  by  the  way,  is  one 
I  the  very  best  directors  at  Universal  City,  is  a 
elative  of  the  Laemmle  family,  who  run  the 
vorks  at  Universal. 

A  MAZING  new  romantic  combinations 
<*-have  been  springing  up  all  over  Hollywood 
'ecently.  For  instance,  the  Carole  Lombard-  . 
Job  Riskin  twosome  has  given  a  surprise  to  the 
ustomers  at  the  recent  prize-fights  and  local 
light  clubs. 

Edmund  Lowe  has  been  squiring  the  lovely 
"irginia  Bruce  (ex  Mrs.  John  Gilbert)  here  and 
here.    Also  Florence  Rice. 

Pat  de  Cico  and  the  lovely  Genevieve  Tobin 
lave  been  taking  in  the  sights  together.  And 
;he  biggest  surprise  of  all  is  Norman  Foster's 
mdden  escorting  about  of  several  of  the  local 
jeauties. 

1   Which  has  everyone  wondering  just  what 
Tlaudette  Colbert  thinks  about  it. 

A  DOCTOR,  visiting  Cecil  De- 
■"■Mille  in  the  hospital  just  before 
Cecil  began  work  on  "The  Cru- 
saders," was  shocked  to  see  a 
strange,  iron  figure  in  a  corner. 

"What  is  it?"  he  demanded. 

"It's  only  me,"  a  little  voice  called, 
"I'm  the  nurse,  Mr.  DeMille  wanted 
me  to  try  out  the  different  armor  for 
his  new  picture." 

CVERY  day,  it  seems,  Virginia  Bruce  gets 
lovelier  and  lovelier — and  every  day  she  be- 
comes more  and  more  positive  about  the  im- 
possibility of  a  reconciliation  with  Jack  Gilbert. 
Putting  the  two  together,  it's  no  wonder  that 
Virginia  is  the  object  of  several  Hollywood 
swains'  attentions.  No  one  yet  has  pried  into  a 
definitely  romantic  arrangement,  and,  of 
course,  Virginia  just  smiles  that  slow  smile. 
But  she's  been  seen  out  with  Billy  Bakewell 
and  Edmund  Lowe  both,  a  few  times  of  late, 
!  Nelson  Eddy  also  is  said  to  be  strongly  in  the 
running. 


T  YLE  TALBOT  is  still  wondering. 
"*-"'  Recently  Lyle  asked  a  friend  if 
he  thought  it  bad  luck  to  postpone  a 
wedding. 

"Not  if  you  keep  on  doing  it,"  the 
friend  replied. 


T  OIS  WILSON  will  leave  all  predictions  to 
Gene  Dennis,  who  does  pretty  well  by 
them,  after  this — 

Many,  many  months  ago  when  Lew  Ayres 
looked  into  Ginger  Rogers'  eyes  and  gave  her  a 
funny  feeling  around  her  heart,  Lois  said — 
"You'll  never  marry  him." 

"You'll  receive  the  first  wedding  invita- 
tion," replied  Ginger. 

And  Lois  did.  What's  more,  she  swooped 
up  the  bridal  bouquet  when  Ginger  tossed  it. 


A  behind-the-scenes  view  of  a  shot  from  "The  Little  Minister."    Katharine 

Hepburn  attends  John  Beal  after  his  serious  injuries.    Director  Richard 

Wallace,  kneeling,  cameraman  Henry  Gerrard,  and  Marty  Offner,  dialogue 

assistant,  are  watching 


FAY  WRAY  left  for  Europe  several  days  be- 
fore John  Monk  Saunders'  birthday.  Birth- 
days are  always  state  occasions  in  the  family, 
so  Johnny  obligingly  moved  up  the  date,  and 
they  had  a  breakfast-birthday  party,  with  all 
the  presents  served  with  the  coffee. 

HTHE  latest  Hollywood  behind-the-scenes- 
■*■  drama  in  three  acts:  (and  it's  a  true  one). 

W.  C.  "Bill"  Fields  was  going  through  a 
scene.  In  the  middle  of  his  antics  the  camera- 
man yelled— "Cut!     Re-loading." 

Bill  fiddled  while  they  loaded  the  camera 
with  film. 

Another  take,  and  in  the  middle  the  sound 
man  shouted,  "No  good — sound  re-loading." 

They  set  up  for  a  third  take.  The  director 
looked  around.  No  Bill  anywhere  in  sight. 
Shouts  re-echoed  up  and  down  the  stage. 
"Bill— Bill  Fields.     Hey— we're  ready." 

There  was  a  brief  silence,  and  then  from  a 
far,  obscure  corner  of  the  vast  building  sput- 
tered a  moist  voice — 

"  Fields  re-loading! " 

"Y"OU'D  never  suspect  an  abundance  of  the 
■*■  maternal  instinct  in  Carole  Lombard  per- 
haps, or  perhaps  you  would,  but  I  happened 
to  be  in  her  dressing  room  the  other  day  when 
Arline  Judge  came  by  with  that  cute  youngster 
of  hers,  Charles  Wesley,  and  proceeded  to  fill 
the  room  with  "  Oohs"  and  "  Ahhs"  contributed 
by  all  present.  When  the  tot  and  his  pretty 
mother  left,  Carole  sighed  wistfully. 

"Darn  it,"  she  said,  "I'll  just  have  to  get 
married  and  have  one  of  those." 


f\F  course,  we  do  hate  to  jump  at  condu- 
ctions— 

But  Jean  Harlow  certainly  played  it  straight 
when  a  stranger,  noting  the  gallant  attentions 
paid  her  by  William  Powell  at  a  recent  big 
Hollywood  party,  smiled  sweetly  and  remarked 
to  Jean,  "What  a  nice  husband  you  have." 

Jean  smiled  back  twice  as  sweetly. 

COULDN'T  I  please  send  my  car  home 
and  get  one  that  wouldn't  attract  so  much 
attention?" 

Lilian  Harvey  put  this  plaintive  plea  to  her 
manager  the  other  day. 

The  big  white  foreign  car  with  silver  trim- 
mings (maybe  it's  platinum)  has  been  one  of 
the  sights  of  Hollywood  for  a  year.  Lilian 
yearns  for  a  little  black  coupe! 

EVERYONE  who  knows  Lilian  Harvey  is 
delighted  that  she  has  signed  a  contract 
with  Columbia,  and  has  started  in  "Once  a 
Gentleman"  with  Tullio  Carminati.  Lilian 
has  had  many  heart-aches  since  she  came  to 
Hollywood,  and  has  been  very  lonely,  rattling 
around  in  that  huge  house  she  rented.  She  is 
still  devoted  to  Willy  Fritsch,  but  will  not  ask 
him  to  come  over  here  as  he  cannot  speak 
English,  and  she  is  afraid  he  would  have 
difficulty  in  American  pictures.  He  is  a  highly- 
rated  European  star.  They  are  not  married, 
but  Lilian  wears  a  wedding  ring  just  to  dis- 
courage attention  from  any  one  else.  Her  new 
contract  has  given  her  back  the  confidence  she 
was  in  danger  of  losing,  and  here's  luck. 

[  PLEASE  TURN  TO  PAGE  124  ] 

87 


88 


Photoplay  Magazine  for  February,  1935 


„^C  ■ ' 


''■'-, 


"-*,.. 


y 


o*  course,  i  use 

COSMETICS,  BUT  I  N€V€R     I 
WORRY  ABOUT  COSMETIC 

SKIN THANKS  TO 

LUX  TOILET  SOAP. 

IT'S  EASY  TO  -HAVE  A 
GORGEOUS  SKIN  THIS  WAy 


G/A/G£a 


\ROGERS 


STAR  OF  RKO-RADIO'S   "ROMJJ 


NCE  IN  MANHATTAN' 


Photoplay  Magazine  for  February,  1935 


89 


THRILLING  words... 

BUT  NOBODY  SAYS  THEM 
THE  GIRL  WH 
S  COSMETIC  SKIN 

You  can  use  cosmetics  all  you 
wish,  yet  guard  against  this  clanger 
the  way  the  screen  stars  do  .  .  . 

SOFT,  LOVELY  SKIN  is  thrilling  to  a  man. 
Every  girl  should  have  it — and  keep  it! 

So  what  a  shame  when  a  girl  lets  unattractive 
Cosmetic  Skin  rob  her  of  this  charm!  It's  so  easy 
to  guard  against  this  modern  complexion  trouble 
the  way  the  Hollywood  screen  stars  do. 

Cosmetics  Harmless  if  removed  this  way 

Cosmetics  need  not  harm  even  delicate  skin  un- 
less they  are  allowed  to  choke  the  pores.  Many 
a  woman  who  thinks  she  removes  make-up  thor- 
oughly is  actually  leaving  bits  of  stale  rouge  and 
powder  in  the  pores  day  after  day.  Gradually  the 
pores  become  enlarged — tiny  blemishes  appear, 
blackheads,  perhaps.  These  are  the  warning  sig- 
nals of  Cosmetic  Skin. 

Gentle  Lux  Toilet  Soap  is  made  to  remove  cos- 
metics thoroughly.  Its  rich,  ACTIVE  lather 
sinks  deeply  into  the  pores,  gently  removes  every 
hidden  trace  of  dust,  dirt,  stale  cosmetics. 

Before  you  apply  fresh  make-up  during  the 
day — ALWAYS  before  you  go  to  bed  at  night, 
protect  your  skin  with  this  safe,  sure  care  9  out 
of  10  screen  stars  use! 


To  guard  against  unattractive  Cosmetic 
Skin,  thousands  of  girls  all  over  the 
country  are  adopting  the  screen  stars' 
complexion  care.  The  ACTIVE  lather  of  Lux 
Toilet  Soap  removes  cosmetics  thoroughly 
—  protects  the  skin,  keeps  it  lovely. 


He  Failed  for  a  Million 


tumes  for  the  chorines  and  at  every  perform- 
ance they  made  Pat  sneeze.  Besides,  he  rea- 
soned, what  right  had  a  chap  who'd  hauled 
lumber  and  nursed  a  sixteen-inch  death- 
speaker  to  be  doing  fancy  steps  for  a  living? 
Consequently  when  Wisconsin  announced  free 
tuition  to  ex-service  men  desiring  higher  edu- 
cation one  Patrick  O'Brien  was  the  first  to 
register.  He  had  arrived  home  on  a  milk 
train,  none  the  worse  for  a  two-day  diet  of 
carrots. 

"What  course  are  you  taking?"  asked  the 
secretary  at  Marquette  University.  Pat 
flipped  a  coin.  "Make  it  law."  He  had 
divided  between  that  and  engineering.  Pat 
mixed  in  some  football  with  the  law  and  licked 
Notre  Dame  practically  single-handed. 

Then  he  made  the  mistake  of  going  into  a 
class  play.  The  stage  germ  worked.  It  worked 
so  hard  he  couldn't  sleep  nights.  Law  was 
definitely  out.  He  convinced  the  state's  repre- 
sentative that  War  Veteran  O'Brien  should 
be  in  the  Academy  of  Dramatic  Arts  in 
New  York. 

T)  ACK  in  New  York  Pat  starved  like  a  gentle- 
man, studied  like  blazes,  and  stalked  theat- 
rical agents. 

There  were  two  excellent  reasons  why,  early 
in  1923,  our  Mr.  O'Brien  returned  to  Milwau- 
kee. One  has  to  eat  occasionally — and  the 
other  was  a  desperate  major  cardiac  disturb- 
ance known  as  "young  love."  She  was  a 
blonde.  She  was  lovely.  And  she  had  been  his 
sweetheart  from  childhood.  Pat — for  the 
second  time — turned  his  back  on  the  stage 
forever.  Substantial  Young  Bond  Salesman 
was  the  role  he  set  himself  to  play.  And  it  was 
probably  the  worst  performance  Pat  O'Brien 
ever  gave.  .  .  . 

The  O'Brien  sales  fell  to  zero  as  he  grew 
more  and  more  bewildered  and  unhappy.  And 
somehow  the  romance  had  faded  out.  There 
was  no  glow  left  in  the  world.  It  was  funny 
how  often  Pat's  feet  carried  him  to  the  door  of 
the  stock  company  Jimmy  Gleason  had.  A 
friend  cornered  him  one  night  and  tucked  a 
script  under  his  arm.  "Listen,  Pat.  This 
'Under  the  El'  is  a  great  play.  We're  going 
to  try  it  out  here  and  that  part  suits  you  to  a 
T.    Just  read  it!" 

"Nope,"  muttered  O'Brien.  "I'm  through 
with  the  stage.  It's  no  go."  But  he  sat  up 
the  whole  night  reading  the  play,  going  over 
the  lines.  .  .  . 

It  was  his  father  who  settled  it.  The  kindly 
old  man,  with  eyes  that  once  had  been  as 
fiercely  blue  as  Pat's  said,  "Why  don't  you 
quit  kidding  yourself,  boy?  The  theater's  in 
your  blood.  Now  there's  that  old  insurance 
policy  for  a  thousand  that  I  took  out  for  you 
when  you  were  ten.  Borrow  on  it,  get  back  to 
New  York,  and  slick  it  out!" 

It  sounds  like  manufactured  fiction,  this  part 
of  Pat's  story.  But  here  is  exactly  what  hap- 
pened on  the  blizzard-swept  night  he  landed  in 
Manhattan  with  $5.45  in  his  pocket.  He  had 
borrowed  only  enough  to  get  him  there.  After 
that — well,  he  was  going  into  the  clinches  with 
old  lady  luck  and  one  of  them  was  going  to 
give  in!  This  time  it  wasn't  Pat.  .  .  .  He  ran 
into  an  old  classmate  of  his  from  the  Academy 
of  Dramatics  who  was  throwing  a  party. 
Around  midnight  a  short,  stocky  fellow  he 
hadn't  suspected  of  being  Good  News,  drew 

90 


[  CONTINUED  FROM  PAGE  43  ] 

him  aside.  "There's  a  chap  leaving  the  cast  of 
'A  Man's  Man'  tonight.  Why  don't  you  go 
down  and  see  about  it  in  the  morning?" 

"In  the  morning!"  shouted  Pat.  "I'm  on 
my  way  now!" 

It  was  bitingly  cold  in  the  darkened  theater 
but  rehearsals  were  still  going  on.  "So  you 
want  that  part,  eh?"  said  Eddie  Goodman, 
the  director.  "All  right,  go  down  there  and  try 
it !  But  remember  tin's  is  Saturday  and  we  open 
Monday  and  you'll  have  forty-eight  sides  to 
learn." 

"That's  all  right.  I  know  this  play — every 
line  of  it." 

"  You  do?  " 

"Sure.  I  read  it,"  Pat  told  him,  "when  it 
was  called  'Under  the  El'.  .  .  ." 

Coincidence?  Or  the  special  brand  of 
O'Brien  magic?  A  few  months  later  it  worked 
again — to  furnish  Pat  with  the  biggest  moment 
of  his  life. 

He  had  been  travelling  with  the  road  show 
of  "Broadway"  and  the  producers  sent  him  a 
wire  to  join  the  Chicago  cast.  At  the  same 
time,  they  sent  a  girl  there  who  was  beautiful 
and  something  more.  Valentino  had  selected 
her  as  the  most  gorgeous  girl  in  Iowa.  And 
when  young  Mr.  O'Brien  saw  Eloise  Taylor  he 
went  the  great  screen  idol  one  better.  He 
selected  her  as  the  most  gorgeous  girl  in  the 
world.  .  .  .  His.  .  .  . 

But  it  wasn't  to  be  a  whirlwind  romance. 
It  took  Pat  five  years  to  catch  up  with  her! 
They  played  in  stock  together,  on  the  road,  on 
Broadway.  More  often  than  not  they  were 
broke  together.  A  couple  of  kids  joy-riding 
through  poverty. 

But  you  can't  get  married  on  nothing.  They 
were  on  a  vaudeville  tour.  And  because  they 
were  tired  of  waiting  and  tense  and  nerve- 
jangled  they  quarreled.  Bitterly.  And  sepa- 
rated. 

"If  you  ever  want  to  see  me  again  you  can 
write,"  said  Eloise. 

"The  same  goes  for  me!"  said  Pat. 

T_TE  stuck  it  out  as  long  as  he  could.  Then, 
while  he  was  playing  Baltimore,  he  poured 
his  heart  out  to  her  in  a  letter  and  airmailed  it 
to  her  address  in  Worcester.  No  answer.  Weeks 
passed.  Months.  He  went  to  New  York.  It 
didn't  matter  that  he  was  credited  with  one  of 
the  ten  best  performances  of  the  year  as  the 
Russian  communist,  Maxim,  in  "Overture." 
Nothing  mattered. 

But  Fate  was  up  to  her  special  tricks  re- 
served for  O'Briens.  One  morning  Pat  received 
the  charred  fragment  of  an  envelope  with  a 
note  from  the  government  saying  this  was 
what  was  left  of  his  airmail  letter.  The  plane 
had  crashed,  burned  .  .  .  the  pilot  was  killed 
.  .  .  They  were  returning  the  remains  of  the 
letter  for  his  records.  .  .  . 

Pat  made  a  record  of  a  very  particular  nature 
in  getting  to  Eloise  with  that  burned  bit  of 
paper.  Together,  very  close  together,  they 
went  out  to  have  it  framed. 

At  first  Pat  couldn't  believe  his  ears.  The 
operator  said  Hollywood  was  calling.  The 
United  Artists  Studio.  And  he  heard  Howard 
Hughes'  soft  Texan  drawl  over  the  wire. 
"O'Brien,  how  about  doing  the  role  of  the 
reporter  in  'The  Front  Page'?  " 

Pat  arrived  in  California  at  8  A.M.  and  at 
ten  he  was  working.    Before  the  picture  was 


half  through  they  knew  they  had  somethin; 
A  sensation.  Pat  sent  for  Eloise  and  at  th 
same  place  he  and  Mary  Brian  got  the' 
marriage  license  in  the  picture  Pat  bought  hi 
real  license. 

They  hadn't  counted  on  such  a  honeymooi 
Pat  had  been  sent  East  almost  immediately  t 
start  work  on  another  picture  with  Nanc 
Carroll.  And  there  was  a  six  weeks'  dela> 
And  the  studio  that  had  refused  him  bit  part 
so  often  was  now  paying  for  his  royal  suite  a 
the  St.  Moritz!  Pat  and  Eloise  walked  abou 
in  a  dream — down  streets  where  a  bare  si 
months  before  they  had  been  so  broke  ye 
eager  and  hopeful.  Now  a  corsage  of  orchid 
waited  for  Eloise  daily.  And  Pat  had  the  satis 
faction  of  smoking  the  studio's  finest  cigars. 

For  the  first  six  months  they  couldn't  handl 
their  money.  They  returned  to  California  am 
decided  to  bring  both  families  out  for  Christ 
mas.  "We'll  long  distance  them  instead  o 
writing,"  grinned  Pat.  "We're  big  shots  now!' 
They  bought  drawing  rooms  for  their  folks 
arranged  for  them  to  meet  in  Kansas  City— 
and  when  Poppa  O'Brien  stepped  off  the  trail 
he  was  wearing  spats!  "Got  to  do  you  proud 
son,"  he  whispered  as  Pat  grabbed  him.  It  wa: 
an  almost  hysterically  happy  three  weeks 
They  journeyed  to  Agua  Caliente — in  tw< 
cars!  The  old  gentlemen  played  the  horses  ant 
Pat  paid  the  bills.  They  had  a  bungalow  t( 
themselves  at  the  Biltmore  in  Santa  Barbara 
The  O'Briens  were  in  the  money! 

"D  UT  by  a  strange  anomaly  that  could  occui 

only  in  Hollywood,  Pat  O'Brien  then  droppec 
out  of  sight  from  the  rank  of  top  notchers 
After  that  first  big  production  there  had  beer 
a  delay— then  a  poor  production.  The  lead 
ing  producers  could  see  Pat  only  as  a  reportei 
—and  the  newspaper  story  cycle  was  over 
To  most  people  it  would  have  meant  fade-out 
To  Pat  it  meant — extraordinary  financial  sue 
cess.  He  went  cheerfully  from  one  fifth  rati 
picture  into  another.  Pictures  that  were  "shot 
on  the  cuff,"  yet  they  spelled  good  money 
Pat  was  saving  now.  He  kept  at  it  for  nearh 
four  years.  And  during  all  that  time  wher 
nobody  heard  of  Pat  O'Brien,  he  made  enougt 
money  to  retire  for  life! 

He  bought  a  fifteen-room  Beverly  Hilk; 
mansion  with  a  swimming  pool,  badminton 
court,  handball  court  and  an  outside  barbecus 
that  is  a  replica  of  Bill  Hart's.  He  had  more 
cars  and  servants  than  the  better  known 
"names"  around  him.  What's  more,  he  had  a 
good-sized  trust  fund.  And  out  in  San  Bern- 
ardino, Pat  purchased  a  ranch  for  his  wife's 
people.  His  own  parents  he  brings  west  in 
royal  fashion  for  seven  months  every  year. 
Sometimes  it  pays  to  be  a  "failure!" 

When  he  felt  he  could  afford  it  he  went  after 
the  real  parts.  And  got  them.  But  he  took  a 
salary  cut  of  five  hundred  dollars  a  week  just 
to  get  a  chance  at  them — and  a  contract  with 
Warner  Brothers.  Even  now,  with  the  bril- 
liance of  "Here  Comes  the  Navy"  and  "Flir- 
tation Walk"  and  other  successes  behind  him. 
Pat's  income  will  not  come  up  to  his  free  lance 
standard  until  next  option  time. 

"Sure  I've  got  a  grand  philosophy  for  this 
business,"  he'll  tell  you.  "I  explain  to  myself 
that  every  picture  is  my  last  one!"  Maybe 
he'll  be  teaching  it  to  the  littlest  O'Brien- 
Margaret  Mavourneen,  aged  eight  months." 


Photoplay  Magazine  for  February,  1935 


91 


Marion  Davies 
Secret  of  Success 


[  CONTINUED  FROM  PAGE  53  ] 


man,  as  well  as  herself.     It's  possible 

U  find  their  security  can  be  increased 

i  ting  out  and  taking  a  job.    But  now 

>  should  have  a  different  meaning  than  it 

It]  have  had  before  marriage. 

'in — I  know  you're  going  to  ask  me,  'Can 

i  an  successfully  manage  both  a  career  and 

i  tge?'    Yes,  she  can,  if  she  doesn't  let  her 

I  ipse  her  marriage.    But  the  examples 

•   mparatively  few,  if  you  refer  to  women 

i  tl  xtravagant  ambitions.    You  want  a  short 

lon't  you?    Not  a  volume.    All  right. 

career  girl  takes  it  on  the  chin  more 

<-  and  a  lot  harder,  than  the  girl  at  the 

11  low   cook-stove.     She's   confronted   by 

li:s  so  infinitely  much  bigger  and  more 

ii  ated.    Even  in  this  day  and  time,  she  is 

ainst  a  man's  world.    The  other  way,  one 

3  her  world.    And  the  women  the  career 

rl  bmbats  are  more  determined  adversaries. 

IS  hink  of  all  of  the  thousands  of  girls  who 

of  into  Hollywood,  all  trying  to  rush  into 

mall  opening  that  points  toward  success. 

.  y  business,  it's  the  same — in  proportion  to 

i|  tunities.    What  chance  has  the  girl  who 

■conciled  herself   to   a   bruising   and 

itfring  of  spirit?    What  hope  is  there  for  the 

il '.ho   has   underestimated    her    abilities? 

.  ie  it's  cruel,  but  it's  woman's  lot  to  make 

0  of  the  sacrifices  on  this  earth.    One  who 

u  survive  them  is  just  out  of  luck. 

i 

,  ND  when  a  girl  has  decided  what  she 

.wants  to  do,  she  should  study,  study, 
ITJY,  to  prepare  herself.  She  must  be  com- 
eifit  to  take  full  advantage  of  opportunities. 

life  is  so  freakish  that  opportunities  some- 
n's present  themselves  to  women  who  are 
n  epared.  But  how  long  can  anybody  ride 
n  ie  crest  of  luck  alone?  If  a  poorly  equipped 
i  an  inherits  money,  it  isn't  long  before  her 
ers,  and  some  other  smart  people,  get  most 
f  away  from  her.  Well,  a  woman  who  can't 
e  house — whether  her  job  is  to  make  a 
u!;alow  charming,  or  to  manage  an  estate — 
,  't  in  a  very  good  position  to  hold  a  husband, 
lincapable  woman  who  gets  promoted  in 
i  ness  is  just  accepting  her  walking  papers. 
.  'rl  who  tries  to  be  a  secretary  and  makes  a 
ll  of  taking  dictation  is  such  a  derided 
rture  that  she  can  have  no  self-respect.  And 
('can't  name  me  one  actress  in  the  movies 

'  ever  got  a  break,  and  held  on,  who  wasn't 
i  ified  to  keep  her  position.    Well,  can  you? 

Ed.  note:  No,  not  for  long.  There's  always 
lJ box-office,  you  know.) 

\nd  I  don't  think  any  woman  should  stop 
I'tudying  just  her  job.  Do  you  know  any- 
!  g  more  boring  on  earth  than  the  housewife 

■  can  talk  nothing  but  ways  to  feed  her 

1  dren?    Or  the  social  worker  who  speaks  of 
ling  but  playground  improvements?    Or — 

;  greater  horror  still — the  actress  who  can 
i  you  of  nothing  but  what  happened  on  the 
■[today? 

'  It  seems  to  me  that  we  are  here  on  this 
|:h  to  grow  into  the  best  sort  of  human 
>!igs  we  can,  with  all  due  respect  for  the  com- 
j  and  properties  of  other  human  beings.  I 
I  't  know  any  other  one  rule  that  covers  the 
j  ie  better  than  that. 
Nobody  but  a  psychopathic  case  is  anti- 
ial.    Nobody  but  an  anemic  person,  physi- 


To  prevent  this! 


Insist  and  see  that  clean,  fresh 
pads  are  used  on  your  hair! 


Don't  take  chances  with  your  hair. 
The  risk  is  too  dreadful;  the 
penalties  too  severe.  Falling  hair, 
scalp  infection,  loss  of  lustre 
and  hair  vitality  are  a  high 
price  to  pay  for  any  permanent. 
All  too  frequently  they  follow 
the  use  of  improper  materials 
and  the  alarming  practice  some 
shops  employ  of  using  the  same 
pads  repeatedly,  thus  transferring 
hair  and  scalp  disorders  of  an- 
other woman's  head  to  your  own. 
Most  women  are  unaware  of  such 


things  but  Nestle  feels  that  the 
facts  should  be  known.  For  Nestle 
is  thoroughly  protecting  you 
against  unsanitary  and  danger- 
ous waves.  To  those  beauty 
shops  guaranteeing  the  use  of 
genuine  Nestle  materials,  Nestle 
has  issued  a  certificate  that 
readily  identifies  them  as  a 
Licensed  Nestle  Shop.  Look  for 
it  when  you  enter  a  beauty 
shop.  It  is  your  assurance  that 
sanitary  conditions  in  permanent 
waving   prevail   at   that   shop. 


THE  NESTLE-LE  MUR  COMPANY  •  newyork 


SEE  The  Nestle  name  on  the  foil 
cover  of  the  felt  pads  and  bottle  of 
waving  lotion— your  assurance 
of  fresh  and  genuine  materials. 


LOOK  for  the  Licensed  Nestle 
Beauty  Shop  with  this  Certifi- 
cate. It  is  your  guarantee 
of  a    genuine    Nestle   Wave. 


SCIENTIFIC 
PERMANENT  WAVE 


cally  or  mentally,  is  unsocial.  Normal  human 
beings  are  gregarious — and  I  think  the  best 
way  to  enjoy  life  is  to  make  our  company 
pleasing  to  others. 

"I  think  the  stenographer  should  read  the 
professor's  book,  and  I  think  the  housewife 
should  know  enough  about  modern  art,  to  be 
sure  whether  the  reproduction  deserves  a  place 
on  the  wall  or  in  the  ash-can.  And  I  think  any 
actress  ought  to  know  who  H.  L.  Mencken  is, 
as  well  as  how  many  games  the  Dean  brothers 
won  in  the  World  Series. 

"I  never  heard  of  anyone  who  suffered  any 
ill-effects  from  knowing  the  right  people.  Talk 
about  creating  opportunities  for  oneself — I 
think  an  essential  part  of  that  program  is 
making  it  a  point  to  meet  individuals  who  can 
help  you.  Most  girls  don't  have  any  trouble 
bringing  themselves  to  someone's  attention, 
but  they'd  better  be  subtle  about  it.  And  they 
should  be  prepared  to  meet  the  requirements  of 


a  new  acquaintance.  It's  silly  and  selfish  and 
bad-mannered  for  a  girl  to  thrust  herself  in 
someone's  way  if  she  has  no  qualities  that  per- 
son could  possibly  admire.  She  deserves  a 
rebuff,  and  a  stinging  one. 

"I've  heard  a  lot  of  people  say  they  think 
it's  unfair  for  a  woman  to  take  advantage  of 
her  charm  in  making  a  career  for  herself.  Well, 
now  don't  think  I'm  defending  any  woman  who 
is  brazenly  unfair  in  any  respect,  but  if  a 
woman  has  charm,  I  can't  see  any  harm  in  her 
using  it  adroitly.  Nature  intended  that  she 
should;  worked  it  all  out  so  she  could  get  along 
in  this  life.  A  secretary  who  can't  be  charming 
is  a  very  terrible  creature  to  have  around  an 
office.  But  being  charming  doesn't  necessarily 
mean  being  a  'vamp.' 

"A  girl  must  be  efficient  in  her  business,  of 
course;  but  the  fact  must  not  be  obnoxiously 
apparent.  And  that's  no  discrimination 
against  our  sex,  either.    It  goes  just  as  well  for 


men.  I  don't  know  anything  more  annoyin 
than  a  man  who  can't  be  efficient  without  a 
unnecessary  display  of  bustle  and  zippiness  an 
abruptness. 

"Politeness  is  one  of  the  supreme  qualities 
The  human  race  isn't  moving  too  fast  in  an 
direction  for  us  to  think  we  haven't  got  time  t 
be  agreeable  to  the  people  who  deserve  it 
Politeness  requires  that  the  well-informe< 
woman  should  not  be  windy  and  boring;  tha 
the  society  woman  should  not  go  through 
lot  of  ridiculous  posing,  and  that  the  celebrit 
should  never  lose  her  graciousness. 

"In  the  end,  if  the  girl  becomes  a  success,  sh 
can  well  afford  to  look  back  and  extend  th 
helping  hand.  Nobody  ever  gets  to  the  to] 
without  some  boosts  along  the  road,  and  turn 
about  is  fair  play.  Live — and  help  others  ti 
live. 

"And  that's  a  good  motto  to  hang  on  th 
mountain." 


And  So  the  Great  Master  Arrives 


CONTINUED  FROM  PAGE  38 


What's  more,  he  has  shown  that  he  can  pick 
'em.  When  he  was  bringing  "The  Miracle"  to 
the  United  States,  Reinhardt  found  himself 
somewhat  on  the  spot.  He  was  nearing  the 
shores  of  a  land  eagerly  awaiting  evidence  of 
his  heralded  dramatic  genius  minus  one  of  the 
most  important  cast  characters  in  the  religious 
spectacle,  the  nun. 

On  the  boat  was  Rosamond  Pinchot,  a 
governor's  daughter.  Reinhardt  saw  her,  and 
in  her  the  woman  he  could  make  into  the  nun 
of  his  drama.  From  the  passenger  list  of  an 
ocean  liner,  he  proceeded  magically  to  pluck 
a  star. 

Just  recently  when  he  was  casting  for  his 
Hollywood  Bowl  production  of  "A  Midsummer 
Night's  Dream"  he  chose  for  the  important 
part  of  Puck  young  Mickey  Rooney,  a  child 
actor  who  had  never  been  taken  too  seriously 
in  Hollywood.  Mickey  was  known  chiefly  for 
his  "Mickey  McGuire"  Comedies. 

VX  THEN  Reinhardt  announced  that  Mickey 
would  play  Puck,  Hollywood  gasped,  and 
relaxed  into  a  few  knowing  chuckles.  Rein- 
hardt must  be  slipping  to  cast  a  kid  for  the  part 
which  the  greatest  actors  had  played  since 
time  immemorial,  was  the  opinion. 

Well — Mickey  Rooney  stole  the  gorgeous 
show.  He  stole  it  with  the  thundering  ap- 
plause of  one  of  the  most  dramatically  dis- 
tinguished audiences  ever  assembled,  and  from 
a  cast  of  seasoned  and  distinguished  players. 

"Puck  was  never  played  before  as  Shake- 
peare  intended  it  until  Mickey  Rooney  played 
it,"  Max  Reinhardt  told  me.  "The  greatest 
actors  in  the  world  have  played  it — but  never 
like  Mickey  Rooney." 

Rosamond  Pinchot  is  now  under  contract  to 
M-G-M,  and  Mickey  Roon;y,  of  course,  has 
plenty  of  prestige  in  Hollywood.  He  was  the 
first  actor  cast  for  Reinhardt's  screen  pro- 
duction of  "the  Dream." 

From  what  Reinhardt  told  me  I  think  he 
undoubtedly  intends  to  give  us  some  new 
stars.  With  his  marvelous  ability  to  recognize 
potential  talent  and  to  mold  it — and  with  as 
fertile  a  field  as  Hollywood  to  pick  from — he 
should  be  just  the  man  to  create  new  screen 
idols. 

In  fact,  before  he  came  to  Hollywood,  he 
fathered  much  of  Hollywood's  greatest  genius. 


I  mentioned  to  him  such  greats  as  Ernst 
Lubitsch  and  William  Dieterle,  two  of  Holly- 
wood's most  artistic  directors,  of  Mady  Chris- 
tians, Emil  Jannings,  Pola  Negri,  Francis 
Lederer,  and,  indirectly,  Marlene  Dietrich, 
Lil  Dagover,  Tala  Birell,  Joseph  Schildkraut, 
Conrad  Veidt  and  Elisabeth  Bergner — the 
latter  known  here,  but  yet  to  come  to  Holly- 
wood. 

Many  of  these  artists  lived,  studied  and 
worked  with  Reinhardt  in  Europe  before  they 
ever  came  to  the  screen.  Others  had  only  the 
remote  rays  of  his  genius  to  warm  them.  But 
all  reaped  from  the  experience  something  they 
never  could  have  obtained  in  any  other  way — all 
caught  the  divine  spark  from  Reinhardt  and 
blew  it  into  brilliance  with  their  own  breaths. 

Max  Reinhardt  shook  his  head  and  amended — 

"  We  are  all  merely  limbs  from  one  tree,"  he 
insisted.  "Of  course,  I  am  proud  of  the  actors 
and  former  pupils  of  mine  who  have  come  to 
success  in  Hollywood.  But  what  they  have 
done  is  not  traceable  to  me.  Rather,  whatever 
any  of  us  has  done  is  traceable  to  our  common 
schooling.    We  all  worked  together." 

JUST  the  same  it  was  Max  Reinhardt  who 
saw  and  inspired  their  greatness,  and  all 
would,  I  am  sure,  without  a  moment's  hesita- 
tion, lay  their  laurels  at  his  feet. 

Years  ago,  Ernst  Lubitsch,  then  an  am- 
bitious little  comedian,  enrolled  in  the  Rein- 
hardtschule  in  Berlin.  Reinhardt  sensed  the 
promise  of  the  then  unknown  actor.  He  put 
him  quickly  into  his  major  productions — and 
for  five  years  Lubitsch  stayed  with  the  master, 
worked  and  grew  with  him.  He  played  every- 
thing from  the  fool  in  "King  Lear"  to  the 
grave-digger  in  "Hamlet."  When  he  finally 
departed  from  under  Reinhardt's  wing,  he 
startled  the  screen  world  by  directing,  in 
Germany,  "Carmen"  and  "DuBarry." 

Hollywood  quickly  sent  for  him — and  made 
him  one  of  its  highest  paid  directors. 

But  when  Ernst  Lubitsch  made  those  sen- 
sational pictures  abroad  which  revealed  an 
entirely  new  and  delightful  technique,  he  was 
still  in  his  twenties.  And  it  is  taking  nothing 
away  from  his  own  individual  genius,  along 
whose  lines  he  has  developed  since  (the 
Lubitsch  touch)  to  speculate  whether  he  would 
have  been  able  to  find  himself  and  reveal  that 


genius  without  those  years  of  inspiration  am 
guidance  under  Reinhardt. 

Certainly  it  would  never  have  occurred  s< 
early  in  life  without  the  benefit  of  the  master1: 
serenity  and  his  sure  guiding  hand. 

When  Lubitsch,  well  along  in  his  Reinhardl 
schooling,  was  playing  in  "The  Miser,"  t 
green,  gawky  seventeen-year-old  blonde  gir 
joined  the  cast  in  a  small  role. 

I_TER  name  was  Mady  Christians.  Toda> 
Hollywood  knows  her  as  a  star  from  whom 
M-G-M  expects  greater  things  than  any  othei 
new  member  of  its  stellar  family.  She  has  just 
completed  her  first  Hollywood  role,  starred  in 
"A  Wicked  Woman." 

When  she  went  to  Reinhardt,  however,  no  one 
knew  her,  except  as  the  awkward  daughter  ol 
Rudolph  Christians,  a  great  character  actoi 
and  a  close  friend  of  Reinhardt's. 

Mady  wanted,  against  her  father's  wishes 
(he  said  she  would  make  an  excellent  cook!), 
to  become  an  actress.  Reinhardt  promised  hei 
an  audition. 

Mady's  audition  was  quite  terrible. 

"So  this  is  all  we  get  from  the  offspring  of 
Rudolph  Christians,"  Reinhardt  muttered 
sadly.    But  he  took  her  into  his  school. 

I  smiled  when  I  remembered  what  she  had 
told  me  about  her  tragicomic  first  days  in  the 
Reinhardtschule. 

Mady  was  proud  then,  though  awkward, 
she  couldn't  bear  the  repertory  theater  director 
to  think  her  green. 

"So  I  said  I  was  a  great  American  actress," 
she  laughed  as  she  told  me.  "I  said  I  had 
played  every  part  worth  mentioning — in  Amer 
ica.  They  asked  me  to  list  my  plays  and  I  put 
down  everything  I  could  think  of,  including  a 
play  called  'Minna  von  Barnhelm,'  which  was, 
then  being  presented  in  a  Reinhardt  theater. 

"  Of  course,  the  whole  sum  of  my  actual  stage 
experience  was  the  time  when  as  a  tot  I'd 
played  a  princess  in  one  of  father's  plays. 

"So  when  the  director  came  to  me  a  few 
days  later  and  said,  'Get  ready  to  jump  into 
the  lead  of  "Minna  von  Barnhelm,"  I  almost 
fainted.  I  sat  up  for  forty-eight  hours,  drank 
gallons  of  coffee  and  learned  the  part. 

"After  the  first  act,  an  old  actor  looked  at 
me  and  smiled,  'You've  never  faced  an  au- 
dience before,  have  you?" 


92 


Photoplay  Magazine 


From  then  on  I  couldn't  lie  any  more.  I 
ixed  to  death  that  Professor  Reinhardt 
Id  hear  of  my  disgrace  and  take  me  out  of 
school." 

[tut  he  didn't  and  Mady  Christians  worked 
uh  Max  Reinhardt  seven  years  in  all.  Now 
si  is  in  Hollywood — a  star. 

1  can  attribute  my  entire  development  as 
a .actress  to  him.  I  couldn't  think  of  any  way 
Mould  possibly  replace  what  I  learned  from 
h;i.  Even  now,  if  I'm  in  doubt  about  a  part 
Lithe  stage  or  on  the  screen,  I  find  myself 
a  ing,  'How  would  he  have  me  do  it?'  1  still 
h,ir  him,"  Mady  said. 

I- For  me  he  is  and  always  will  be  the  master 
i  fgician  of  the  theater — " 

n  Reinhardt's  productions  of  "The  Mer- 
est of  Venice"  and  "Damekobolt,"  Mady 
Dristians  had  the  same  stage  lover — a  young 
Ovarian  actor  named  William  Dieterle. 

pieterle,  nine  years  with  Reinhardt,  .is  an 
aor,  like  Lubitsch,  turned  his  talents  to 
i  ecting  when  he  left  to  try  his  own  wings, 
ke  Lubitsch,  too,  he  came  to  Hollywood  and 
tbortant  success.  "The  Firebrand"  was  his 
1 1  picture.  Dieterle  has  always  been  very 
else  to  Max  Reinhardt — loves  him  as  a  son 
lies  a  father.  In  fact,  it  was  Dieterle  who 
lUght  Reinhardt  to  Warner  Brothers,  even 
tough  Reinhardt's  own  son,  Gottfried,  works 
,  M-G-M. 

Dieterle  actually  will  co-direct  "A  Mid- 
-mmer  Night's  Dream"  with  Max  Reinhardt. 
ibdestly  he  told  me,  "We  will  do  it  together, 
ty  job  will  be  to  catch  Reinhardt  flying." 
Now  as  Dieterle  sat  between  Reinhardt  and 
i',  straightening  out  the  occasional  misunder- 
Andings  of  two  people  groping  in  strange 
pgues,  I  recalled  the  reverence  which  had 

bade  him  to  put  himself  on  a  plane  of 
juality  with  the  master;  his  refusal  to  share 
;;y  glory,  and  his  words, 
^''Helping  out  with  my  knowledge  of  picture 
fchnique  will  give  me  a  way  to  pay  back  a 
[tie  for  what  he  gave  me.  For  without  a 
feat  master,  a  great  idol  such  as  Max  Rein- 
,.rdt,  one  could  not  be  inspired.  I  could 
Iver  have  been  a  director  without  those  years 
spent  with  him." 


,'UT  in  spite  of  these  tributes  I  could  tell,  by 
'his  modest  dismissal  of  the  subject,  that 
'ax  Reinhardt  does  not  care  to  look  back  on 
[e  artists  he  has  inspired  in  the  past — 

To  Pola  Negri,  who  danced  and  acted  a 
antomime  part  in  his  "Sumurun,"  to  Francis 

■derer  who  five  years  ago  went  to  him  to 
;ay  "Romeo  and  Juliet."  To  Marlene  Diet- 
th  who  got  her  first  break  in  a  Reinhardt 

vue.  "It  Lies  In  The  Air,"  and  her  under- 
'udy  in  the  same  revue,  a  Viennese  girl  named 
ala  Birell,  who  achieved  a  brief  Hollywood 
tardom  and  recently  came  back  in  "The 
'aptain  Hates  The  Sea."  To  Salka  Viertel, 
[ie  writer  and  intimate  of  Garbo,  who  started 
fcr  career  as  an  actress  in  his  Deutches  Theater. 
I  Rudolph  Amendt,  Tannings,  Bergner,  Veidt, 
id  the  large  host  of  other  pupils  who  have 
|>read  his  fame  over  the  world. 

Nor  does  he  care  to  look  back  to  the 
leatrical  triumphs  of  the  past. 

Like  any  great  genius  he  realizes  that  it  is 
mgerous  to  look  back — that  the  future  and 
hat  is  yet  to  be  done  are  what  counts. 
i  I  shook  his  hand  and  prepared  to  leave, 
•tting  a  few  last-minute  notes  of  description- — 

"Strong  nose  .  .  .  sensitive  mouth  .  .  . 
"ay  hair  .  .  ." 

1  William  Dieterle  touched  my  arm.  He  had 
hen  my  jottings — 

"Yes,  the  hair  is  gray,"  he  said,  "but  the 
,es  are  still  young." 


?or  February,  1935 
HI 


If  everyone  in  this  bus 


uses  Pepsodent  Antiseptic 

(as  used  in  recent  tests) 


there  should  be  50% 
fewer  colds! 

Comparative  value  of  leading  mouth  antiseptics 

in  "cold  prevention"  revealed  in  experiments  with  500 people.  What 

happened  when  Pepsodent  Antiseptic  was  used. 


IF  what  happened  in  a  recent  scientific 
"cold"  study  happens  in  this  bus,  there 
should  be  50%  fewer  people  catching  this 
man's  cold  if  they  use  Pepsodent  Antiseptic 
regularly. 

We  use  this  means  of  illustrating  in  a 
dramatic  way  how  Pepsodent  can  help  you 
prevent  colds  this  winter. 

The  test  we  refer  to  included  500  people, 
over  a  period  of  five  months.  These  500  peo- 
ple were  divided  into  several  groups.  Some 
gargled  with  plain  salt  and  water— others  with 
leading  mouth  antiseptics  — one  group  used 
Pepsodent  Antiseptic  exclusively.  Here  is 
what  happened  as  shown  by  official  scientific 
records. 

The  group  who  used  Pepsodent  Antiseptic 
had  50%  fewer  colds  than  those  who  used 
other  leading  mouth  antiseptics  or  those 
who  used  plain  salt  and  water. 

The  group  who  used  Pepsodent  Antisep- 
tic, and  did  catch  cold,  were  able  to  rid  them- 


selves of  their  colds  in  half  the  time  of  those 
who  used  other  methods. 

And  so,  while  we  cannot  scientifically  predict 
how  many  people  would  catch  cold  in  this 
crowded  bus,  nor  just  how  many  would  have 
a  cold  if  they  didn't  use  Pepsodent  Antiseptic, 
we  do  say  that  what  happened  in  this  scien- 
tific test  on  500  people  can  be  applied  to 
some  extent  to  any  other  group. 

Pepsodent  can  he  diluted 

Remember,  Pepsodent  Antiseptic  is  three 
times  as  powerful  in  killing  germs  as  other 
leading  mouth  antiseptics.  You  can  mix 
Pepsodent  Antiseptic  with  2  parts  of  water 
and  it  still  kills  germs  in  less  than  10  sec- 
onds. Therefore,  Pepsodent  gives  you  three 
times  as  much  for  your  money.  It  goes  three 
times  as  far  and  it  still  gives  you  the  protec- 
tion of  a  safe,  efficient  antiseptic. 

Get  Pepsodent  Antiseptic  and  see  for  your- 
self just  how  effective  it  is  in  helping  you 
prevent  colds  this  winter. 


PEPSODENT      ANTISEPTIC 


How  Carole  Lombard  Plans  a  Party 


CONTINUED  FROM  PAGE  67 


With  her  companion-secretary,  Madalynne 
Fields,  Carole  works  out  the  plans  for  each 
social  gathering  like  a  set  of  blue-prints.  Her 
system  runs  something  like  this: 

On  Thursday,  Carole  decides  that  a  week 
from  Friday  she  will  have  Mr.  and  Mrs.  Dick 
Barthelmess,  .Mr.  and  Mrs.  Clive  Brook, 
Ronald  Colriian,  and  Mr.  and  Mrs.  Norman 
Taurog  for  an  informal  dinner. 

On  the  same  day  or  the  next,  Carole  and 
Madalynne  will  telephone  the  guests,  and  if 
any  of  them  are  busy  on  that  date,  other  indi- 
viduals from  her  large  circle  of  friends  are 
substituted  immediately. 

Not  later  than  Friday  evening,  seven  days 
preceding  the  dinner,  Carole  works  out  a 
complete  menu,  including  hors  d'oeuvres,  and 
gives  it  to  Edgar,  her  cook. 

And  for  those  of  you  who  are  servantless, 
let  me  explain  that  Carole  Lombard's  party 
formula  can  be  handled  without  the  aid  of 
caterer  or  cook.  Carole  works  eight  and  nine- 
hours  daily  at  the  studios  and  she  must  have 
trained  servants  to  carry  out  her  orders,  but 
her  system  of  planning  a  dinner  can  be  fol- 
lowed to  the  letter  by  the  clever  housewife 
who  must  do  her  own  cooking  and  shopping 

XJl  )\\    let's  see.  where  were  we?    Oh.  yes,  the 
menu  is  completed,  and   you   can  depend 
upon  Carole  to  avoid  all  food  that  is  merely 
fussy  anil  decorative. 

"  The  success  of  a  party  doesn't  rest  entirely 
upon  the  food,"  Carole  told  me.  "But  you 
can  bet  your  last  dollar  it  will  be  a  flop  from 
the  start  if  the  food  is  one  shade  less  than 
excellent." 

The  Friday  night  dinner  might  possibly  in- 
clude cream  of  mushroom  soup,  salmon  in 
lime  aspic,  Cuban  chicken  with  wild  rice  and 
puree  of  peas,  and  ice-cream  with  matrons 
glaces. 

And  right  here  let's  take  time  out  for  the 
ambitious  hostess  to  make  a  mental  note  that 
the  salad  course  in  this  dinner  is  out  because 
the  tish  course  is  in.  If  Carole  should  decide 
upon  a  salad,  she  would  eliminate  the  salmon 
and  probably  order  French  endive  with  beets, 
marinated  in  French  dressing. 

But  Carole  says  she  refuses  to  follow  any 
rigid  set  of  rules  for  her  menus.  She  is  very 
likely  to  serve  corned  beef  and  cabbage  with 
all  the  trimmings  to  her  group  of  English 
friends  who  fancy  a  boiled  dinner,  or  Italian 
and  Spanish  dishes  for  the  clique  that  leans  to 
Latin  flavorings. 

Edgar,  it  seems,  can  cook  in  any  language, 
and  if  necessary,  can  even  accomplish  a  few 
tasty  morsels  in  Russian. 

Not  later  than  Wednesday  the  flowers  are 
ordered.  On  Thursday  Madalynne,  or  Carole, 
if  she  is  not  working,  checks  over  playing  cards, 
score  cards,  pencils,  backgammon  boards  and 
anagram  sets. 

Dawns  the  day  of  the  dinner,  and  Carole  is 
almost  sure  to  be  hard  at  work  at  the  studio 
until  six  o'clock  or  later.  She  is  certain  to 
arrive  home  tired,  and  it's  a  nine  to  one  bet 
she'll  be  late  as  well,  but  she  takes  time  out 
for  a  visit  to  the  kitchen.  Every  dish  is  in- 
spected, the  canapes  looked  over,  and  if  there's 
a  last  minute  change,  Carole  is  informed,  so 
there  won't  be  any  sudden  surprises  for  her 
when  dinner  is  served. 

Next    comes    dining  room    duty    where    the 

'■>', 


table  is  carefully  checked,  and  then  a  swift 
look  about  the  living-room  at  the  flower 
arrangement. 

And  then,  at  last,  she  is  free  to  shed  her 
work-a-day  fatigue  and  go  about  the  business 
of  emerging  from  her  dressing-room  cool  and 
casual,  as  becomes  the  successful  hostess.  But 
by  this  time  she  is  probably  thinking,  "Why 
did  I  ask  anyone  here  tonight — I  can't  make 
it — I'm  dead." 

But  she'll  make  it,  and  like  it.    The  reviving 


What  would  "The  Night  Life  of  the 

Gods"  be  without  a  Venus  de  Milo? 

Marda  Deering  was  chosen  to  play 

the    role    of    Venus    in    the    film 


process  calls  for  a  good  soak  in  a  warm  tub 
stinging  with  pine  salts,  and  if  that  doesn't 
work,  a  small  glass  of  sherry  sipped  while  she 
relaxes  in  the  soothing  water  is  bound  to  turn 
the  trick.  Carole  says  she  never  fails  to  step 
out  of  her  cold  shower  humming  and  actually 
relishing  the  prospect  of  guests. 


"I  try  to  get  downstairs  in  time  to  gr« 
the  first  arrivals.    It's  really  the  ideal  way  t 
start   things,   but   I  won't   rush   myself  to 
pitch  of  nerves  to  accomplish  it. 

"I  am  careful  about  my  make-up  and  m 
hair,  even  if  that  last  guest  is  waiting,  b( 
cause  a  good  half  of  this  hostess  ease  is  know 
ing  that  you  look  your  best." 

And  here  is  another  gem  of  advice  froi 
Carole  for  every  woman  with  hostess  yearryng 
"An  at-home  costume  or  hostess  gown 
absolutely  essential  for  the  woman  who  entei 
tains,  and  for  two  reasons.  First,  this  type  r 
costume  is  extremely  flattering,  and  that  doe 
wonders  for  any  woman's  poise,  and  secondl) 
it  eliminates  the  possibility  of  appearing  ovei 
dressed  in  case  a  guest  shows  up  in  a  simpl 
daytime  outfit. 

"If  a  woman  has  a  limited  wardrobe,  i 
would  be  wise  to  sacrifice  a  second  dinner  o 
evening  frock  for  one  hostess  gown.  She'! 
soon  rate  it  the  most  valuable  asset  in  he 
clothes  collection." 

Cocktails  and  hors  d'oeuvres  are  serve- 
with  the  arrival  of  the  first  guests.  An< 
another  sage  warning  from  Carole — 

"  Don't  serve  hors  d'oeuvres  unless  they  ar 
superb,"  she  says.  "There  is  nothing  mor 
dismal  to  the  palate  than  a  mediocre  bit  o 
fish  and  egg  heaped  on  a  piece  of  too  soggy  o 
too  brittle  toast.  Until  you  can  attain  hor 
d'oeuvres  that  cause  oh's  and  all's,  serve  you 
cocktails  unaccompanied." 

I  really  believe  that  Carole's  long  list  o 
unusual  canapes  and  hors  d'oeuvres  are  re 
sponsible  for  a  good  measure  of  her  successfu 
parties.  When  her  maid  brings  out  a  platte 
of  piping  hot  chicken  livers  that  have  beei 
broiled  and  then  skewered  on  toast,  the  arom; 
never  fails  to  draw  bravos  from  the  initiatet 
guests.  And  then  there  is  the  master  stroke  o 
fresh  shrimps  stuck  with  toothpicks  ready  ti 
be  dipped  into  a  chilled  bowl  of  sauce  that  i: 
a  sublime  blending  of  chives,  chili  sauce 
mayonnaise  and  tabasco. 

"The  zero  hour  for  any  dinner,"  Carolt 
told  me,  "arrives  along  with  the  coffee  aw 
brandy.  At  that  moment  even  a  party  tha 
has  started  off  at  a  rollicking  pace  can  am 
will  curl  up  and  die,  unless  the  hostess  is  01 
her  toes." 

/"""'AROLF  carefully  avoids  tragedy  by  per 
^^mitting  her  guests  to  plan  their  own  amuse 
ments.  The  harrowang  business  of  herdin; 
everyone  for  games  is  eluded  by  the  simpl< 
plan  of  having  bridge  tables,  backgammoi 
boards  and  anagram  sets  or  any  other  likeh 
entertainment  spread  out  in  the  playroon 
while  the  guests  are  still  at  dinner.  Then  thos* 
who  wish  to  play  games  will  migrate  of  thei 
own  accord  to  the  tables,  while  those  win 
find  the  conversation  diverting  will  gather 
without  prompting,  in  sociable  corners. 

"Fortunately,  I  have  a  number  of  friend: 
who  are  excellent  musicians,"  Carole  con 
tinued.  "Music,  if  it  is  good  and  also  im 
promptu,  is  a  hostess'  most  benign  ally 
When  an  evening  at  my  home  finishes  up  witl 
all  the  guests  crowded  around  the  piano  singim 
at  the  top  of  their  voices,  I  know  the  part) 
can  be  checked  off  as  a  success." 

Another  item  in  the  Lombard  dinner  ritua 
that  should  be  well  heeded  by  the  inexperience 
hostess  is  the  absence  of  all   food   followin; 


Photoplay  Magazine  for  February,  1935 


I  liquors  Ilig':  balls  are  made  for 
,  e  who  desire  them,  but  sticky  candies  are 

r  pressed  upon  unwilling  guests  and  mid- 
lijt   sandwiches  are  absolutely  out. 

ie  buffet  supper  is  a  less  delicate  instru- 

l  to  handle  than  the  dinner,  according  to 
)i  »le,  and  it  is  a  great  boon  to  the  hostess  who 
nl  entertain  now  and  then  for  large  numbers 
i  bests. 

irole's    suppers,     which    she     works     out 


letttifully  in  a  really  small  house  for  as  many 
Sjorty  guests,  are  famous  because  of  the 
<  nctive  dishes  and  because  there  is  always 
!iu  room  in  which  to  enjoy  the  grand  food. 

nail  tables  for  four  are  distributed  through 
brooms  and  in  the  garden  when  the  weather 
I  nits.      If   the  garden   isn't   available,   the 

I  list  is  pared  down,  because  Carole  knows 
h  the  only  party  that  can  be  crowded  with 
ajty  is  the  cocktail  gathering. 

rnong  the  delicious  things  I've  tasted  at 
!,  Lombard  buffets  are  casseroles  of  creamed 
r,.h rooms  and  sweetbreads,  chafing  dishes  of 
d  viand    chicken,    casseroles    of    frog    legs 

i'i  ask  how  this  one  is  made;  it's  too  com- 
.1  ited  for  me!)  and  deviled  crab  meat 
ejed  hot  and  steaming  in  shells  of  white  china. 

C  T  there  is  another  important  ingredient 
Mesides  exquisite  food  and  splendid  manage- 
rs in  Carole  Lombard's  recipe  for  clever 
'I'stessing,"  and  that  is  originality. 

lie  has  displayed  a  fine  flare  for  creating 
la  ies  based  on  an  idea,  usually  an  absurd 
>!.  at  that,  and  carrying  them  to  a  sublime 

- 
Jollywood  still  talks  about  her  famous 
loital  party,  inspired  by  a  series  of  small 
linents  among  her  friends.  Carole  decided 
i  urn  a  regulation  informal  dinner  into  some 
lirious  fun  at  the  last  moment,  and  with  the 
ii;«f  a  surgical  supply  house  she  changed  her 
lf.\ing-room  into  a  hospital  ward. 
Carole  met  her  guests  at  the  door  in  a  nurse's 
Itched  white  uniform  and  issued  long  hos- 
)!;1   robes  which   were  donned   over  dinner 

ts. 

hen  she  had  them  escorted  to  the  white 
r'i  beds  complete  with  names  and  charts 
i  ging  over  the  footboard. 

he  butler,  disguised  as  an  interne,  served 
i  licinal-looking  drinks  that  were  sipped 
I  >ugh  glass  tubes,  but  proved  to  be  pleasant 
nigh  cocktails.  Dinner  was  rolled  in  on  an 
ifrating  table,  and  the  eating  utensils  were 
!  less  terrifying  of  surgical  instruments. 

l\  OULD  not  advise  the  unskilled  hostess  to 
t  tempt  anything  as  complicated  as  Carole's 
ical  dinner,  unless  she  is  very  certain 
i  ut  the  humor  and  spirit  of  her  guests, 
another  fillip  added  to  the  social  season  was 
role's  Roman  banquet,  prompted  by  a 
Aid's  regrets  to  a  dinner  invitation  because, 
'!>ut  it  in  her  own  words,  "She  was  too  tired 
it  up  straight  at  the  table." 
Carole  assured  the  fatigued  friend  she 
jildn't  have  to  sit  up  for  her  dinner,  and 
Jjvided  mounds  of  pillows  that  served  as 
yian  lounges  in  her  drawing-room.  Dinner 
'  served  to  ten  reclining  guests  on  low  in- 
Ijidual  tables 

>nd  while  I'm  taking  the  Lombard  hostess 
jnula  apart  to  see  what  makes  it  tick  so 
ly,  I  must  not  forget  to  underscore  the 
i  st  impoitant  rite  in  her  list  of  "do's."    And 
t  is  to  forget  the  hostess  role  with  the  ar- 
il of  the  first  guest. 

'Ian,    work,    scheme   and    manage    to    the 
jit  beforehand,  says  Carole,  but  the  moment 
party  starts,  forget  you're  running  it,  and 
tend  you're  one  of  the  guests. 


KGOL 

MILDLY    MENTHOLATED 


95 


Ho! .  .  for  the  season  of  galoshes,  sneezes, 
sniffles — and  overheated  rooms.  Hurray 
for  KGDL,  the  cigarette  that  refreshes 
and  soothes  your  sorely  tried  winter 
throat!  Mildly  mentholated:  your  throat 
never  gets   dry.   They're    cork -tipped. 


KQDLS  don't  stick  to  your  lips.  B  &  W 
coupon  in  each  pack  good  for  nationally 
advertised  merchandise:  playing  cards, 
cocktail  sets,  cigarette  cases  and  others. 
(Offer  good  in  U.  S.  A.  only.) 

Brown  &  Williamson  Tobacco  Corp.,  Louisville,  Ky . 


SAVE  COUPONS  FOR  HANDSOME  PREMIUMS 

Write  for  free  illustrated  booklet 


Gail  Patrick  goes  in  for  a  bit  of  kitchen  testing  on  the  pineapple 

and  pineapple  juice  and  comes  out  with   some   different  and 

delicious  results 


THE  kitchen  holds  an  undeniable  lure  for  most  of  us. 
Measuring,  mixing,  tasting,  and  finally  our  own  crea- 
tion that  tempts  the  appetite  at  a  mere  glance.  Holly- 
wood stars  form  no  exception  to  this  kitchen  urge.  It's 
amazing  how  many  of  them  can  cook,  and  cook  well.  As 
women,  we  might  agree  that  they  like  it  because  they  don't 
have  to  do  it,  but  they  do  do  it,  just  the  same.  Gail  Patrick, 
for  example,  recently  delved  into  the  possibilities  of  canned 
pineapple  and  canned  pineapple  juice.  And  Gail's  discoveries 
might  well  grace  our  own  serving  trays. 

Baked  Hawaiian  Ham — Suggested  for  a  fairly  large  family  or 
when  you  entertain.  You  will  need  a  smoked  ham  of  about 
twelve  pounds,  a  large  bottle  of  ginger  ale,  two  quarts  (eight 
cups)  of  Hawaiian  pineapple  juice,  one  cup  of  raisins,  two  boxes 
of  cloves  and  a  bouquet-garni.  (This  last  is  made  by  tying 
together  sprigs  of  parsley,  several  green  onions,  a  bay  leaf, 
sprig  of  thyme,  rosemary,  marjoram,  basil  and  sage,  if  you 
like  the  latter).  Soak  ham  in  cold  water  to  cover  and  a  cup  of 
vinegar  overnight.     Put  ham,  boned  and  tied  if  possible,  in 

96 


Pineapple 

in  Piquant 

Roles— 


roaster  in  hot  oven.  Add  bouquet-garni  an 
water  to  cover  roaster  bottom.  Brown  for  ha 
an  hour.  Then  add  ginger  ale  and  pineappl 
juice.  Turn  ham  every  fifteen  minutes  thre 
times.  Reduce  oven  heat  to  325°,  place  cove 
on  roaster  and  bake  slowly  four  hours.  Whe 
done,  remove  skin,  sprinkle  with  brown  sugs 
and  press  on  cloves  in  design.  Finish  with  slice 
of  pineapple  and  place  directly  under  broiler  t 
brown.  Let  the  gravy  stand  so  fat  may  be  r< 
moved.  Add  raisins,  boil  for  ten  minutes  an; 
thicken  with  a  little  flour  and  water.  Dar 
raisins  make  the  richest  colored  gravy.  If  ha 
a  ham  is  used,  divide  the  recipe  in  half. 
Duck,  Goose  or  Pork  Stuffing — A  delicious  vari; 
tion.  Pare,  core  and  chop  four  large  apple 
Mix  with  two  cups  stale  bread  crumbs,  one  te< 
spoon  powdered  sage,  one  teaspoon  salt,  bm 
fourth  teaspoon  paprika  and  grated  rind  of  ha 
a  lemon.  Moisten  with  one  cup  of  unsweetene 
pineapple  juice. 

Delight  Cocktail — Something  different  in  appeti: 
ers.  Mix  together  two  cups  unsweetened  pin 
apple  juice,  one  cup  tomato  juice  and  juice  < 
two  lemons.  Chill  and  shake  well  before  servir 
in  small  glasses. 

Mulled  Pineapple  Juice — An  idea  in  hot  drinl 
for  a  cold  night.  Tie  together  in  a  small  squa 
of  cheesecloth,  one-inch  stick  of  cinnamon,  thn 
whole  cloves,  one-fourth  teaspoon  ground  a 
spice,  one-fourth  teaspoon  grated  nutmeg  ai 
pinch  of  salt.  Add  these  to  a  quart  of  pineapp 
juice  and  bring  to  the  boiling  point.  Serve  wi' 
crackers  and  cheese. 

Pineapple     Mint    Ice — A     double-duty     delig 
either  for  dessert  or  meat  course    accompaniment.      Soak 
tablespoon  of  gelatin  in  two  tablespoons  of  cold  water  for  fi'j 
minutes.     Make  a  syrup  by  bringing  to  the  boiling  point  o: 
and  a  half  cups  of  pineapple  juice  and  one-half  cup  sugar.  Nc 
add  the  gelatin  and  stir  until  dissolved.    Stir  in  one  tablespo< 
of  fresh  chopped  mint  (or  mint  flavoring),  one  cup  crush' 
pineapple,  two  tablespoons  lemon  juice,  a  little  grated  lem< 
peel  and  pinch  of  salt.     Freeze  to  a  mush  in  your  electric  icj 
box  freezing  pan.     Remove,  add  the  unbeaten  whites  of  tv 
eggs  and  with  egg-beater  whip  in  a  deep  bowl  until  the  ice 
light    and   frothy.      Return   to   the   freezing  pan   and   free; 
stirring  several  times  during  the  process. 
Iced  Pineapple  Coffee — For  bridge  or  a  dancing  party,  t! 
drink  cools  you  off  between  rounds.    Boil  one-third  cup  sug: 
scant  teaspoon  of  grated  orange  rind  and  three-fourths  c 
water  together  for  ten  minutes.     Cool,  strain  and  add  thi 
cups  of  cold  but  freshly  made  coffee.     Just  before  serving 
tall  glasses  with  cracked  ice,  add  one  cup  of  pineapple  ju 
and  one-third  cup  cream. 


Photoplay  Magazine  for  February,  1935 


We  Want  a  Divorce' 


|  CONTINUED  FROM   PAG]    47  | 

n  pie  believe  you  and  Charlie  arc  romantic  ofi 
tl  screen,"  the  producer  argued. 
Oh,  you  don't?"  said  Mary.    "Well,  after 

irsuit  of  Happiness' was  shown,  two  hundred 
fifty  people  wrote  in  telling  me  what  to  do 
ul  Charlie's  cold  stomach  As  if  I  haven't 
e  ugh  trouble  without  other  people's  cold 
hs  to  worry  about." 
'Well,  what  about  me?"  Charlie  cried. 
"ridn't  a  hundred  people  write  in  to  me  after 
fclt  picture,  telling  me  what  they  thought  of  a 
u  nan  who  would  make  a  man  wear  asafetida 
t  >ed?  Haven't  they  written  in  over  and  over, 
Ming  me  what  to  do  with  a  hen-pecking 
nma?" 

dary's   wail   grew    louder.      The   producer 
tijked  wildly  about  for  some  solution. 
'Well,"   he   finally   said,    "I   don't   know. 
Vu're  already  cast  as  ma  and  pa  in  'Ruggles 


Leontine   Sagan,  famous  as    the 
director  and  creator  of  "Maedchen  in 
Uniform,"  is  in  Hollywood  now,  un- 
der contract  to  M-G-M 


Red  Gap.'  you  know.    The  public  is  going  to 
terribly  disappointed." 
"Well,  I  don't  want  Mary  out  of  the  pic- 
re,"  Charlie  said.    "Couldn't  she  be  my — " 
"Your  what:-'"  Mary  snapped. 
"Well,  my  aunt  or-r-r — " 

■  Once  again  Mary's  wails  reached  to  heaven, 
po  you  see  how  he  insults  me?    His  aunt,  my 

t!" 

"  Well,  my  cousin,"  Charlie  suggested.  "  My 
'tie  cousin  Mary." 

"Wait,"  the  producer  interrupted,  "I  have 
'.    idea!     That's  it,  you  and  Mary  can  be 

■  usins  and  I'll  get  you  new  spouses!" 
"Wh-wh-wh-what?"  they  gasped. 

"Yes,  that's  the  very  thing.    Now  Mary,  I 
i  ve  in  mind  a  handsome  Romeo  for  your  new 
sband  in  'Ruggles  of  Red  Gap.'    A  clashing, 
cinaling  chap." 


MIRROR  FRESH 


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VDER.) 


"Oo-oo-oh-that — oh,  that's  fine,"  Mary 
said,  but  her  voice  faltered.  "Isn't  that  nice, 
Charlie?" 

"And  Charlie,  I  have  the  very  wife  for  you," 
went  on  the  producer.  "A  beautiful,  luscious 
brunette.  Slender  and  glamorous.  You'll  be 
crazy  about  her.  Now  I'll  just  give  you  two 
that  divorce  right  now.  You  are  no  longer  ma 
and  pa  of  the  screen.  And  good  luck  to  you 
with  your  new  spouses."  He  shook  the  limp 
hands  of  the  bewildered  pair  and  quickly  eased 
them  out  the  door. 

For  two  whole  minutes  there  was  complete 
silence  in  the  room.  The  producer  sat  behind 
his  desk,  never  moving. 

And  then  very  softly  the  door  was  opened. 
Two  people  crept  slowly  back  into  the  room. 


"Oh-a-hello,"  Charlie  grinned. 

"Hello,"  the  producer  smiled.  "You're 
back  soon.  What's  the  matter?  Didn't  you 
get  what  you  wanted?" 

"Yes — oh,  yes!"  Charlie  said,  twirling  his 
hat.    "Oh,  sure!" 

"  Why,  you  see  we  were  just  thinking  it 
over,"  said  Mary.  "You  see — a — I  don't 
think  this  other  woman,  the  one  you  spoke  of, 
would  be  good  for  Charlie.  I — a— really  don't 
think  she'd  be  safe  with  Charlie."  (Charlie's 
chest  expanded  six  surprised  inches.)  "  You 
see,  I  understand  him  so  well.  Here,  Charlie 
let  me  fix  your  tie." 

"And  this — this  Romeo  you  know,  the  one 
you've  got  for  Mary,  well — a — we  were  just 
thinking,"  said  Charlie,  "Mary  says  she  never 


could  get  along  with   a   Romeo.      She — th 
is — " 

"Oh,  please!"  Mary  suddenly  broke  01 
"We  think,  after  all,  we'll  just  stay  married 
the  screen.  We  don't  want  that  divorce.  J 
we,  Charlie,  dear?" 

"No — no!    We  don't  want  it." 

"Well,  quit  fiddling,"  Mary  snapped  as  th 
walked  out  of  the  office. 

"I  can't  help  it  if  I  have  to  fiddle,  can  I. 
Charlie  answered. 

"Well,  there's  a — " 

The  voices  drifted  off  into  the  distance.  T 
producer  wiped  his  nervous  brow  with  a  trei 
bling  hand.      The  world  was  saved. 

Mary  and  Charlie  remained  the  ma  ai 
pa  of  moviedom. 


^Awfternoon"  Tea 


CONTINUED  FROM  PAGE  82 


Love  scenes  are  being  rewritten  for  the  screen 
by  the  dozen.  No  longer  does  the  hero  say, 
"Darling,  I  love  you,  your  wonderful  smile, 
your  lovely  eyes,  your  fair  hair."  Nowadays  he 
barges  in  with  a  nonchalance  and  a  pearl- 
headed  cane  and  says,  "I  say,  old  thing,  you're 
a  bit  all  right  and  all  that  sort  of  rot.  What? 
What?" 

We  no  longer,  alas,  go  to  the  Brown  Derby. 
May  heaven  have  mercy  on  us,  we  now  go  to 
the  "Darby."  The  good  old  Brown  Darby  for 
plum-duff  and  boiled  cabbage.  And,  come  to 
think  of  it,  maybe  that's  what  gave  Al  Smith 
that  uncomfortable  expression  in  a  recent 
newsreel.  He  was  beginning  to  suspect  that  on 
his  head  he  wore  a  "darby."  It's  enough  to 
wreck  any  man's  nerves,  isn't  it? 

Every  day  brings  another  load  of  the  British 
influence.  And  remember,  this  doesn't  come 
from  the  English  actors  themselves.  They're  as 
amazed  as  anyone.  It  comes  from  the  Ameri- 
cans who  have  sprinted  off  to  England  normal 
and  sane — or  what  passes  for  sane  in  Holly- 
wood—and back  they've  come  with  a  kidney 
pie  complex  and  a  Bond  Street  stoop.  Like 
wildfire,  the  little  mannerisms  and  customs  of 
the  motherland  have  spread  throughout  the 
length  and  breadth  of  Hollywood. 

Louise  Fazenda  came  home  and  the  crumpet 
idea  took  hold.  Ralph  Bellamy  came  home  and 
in  two  days  coat-of-arm  door-knobs  opened 
practically  every  front  door.  Charlie  Farrell 
came  home  and  cricket  took  over  polo  like  the 
Deans  took  Detroit.  Bill  Gargan  came  home 
and  you  should  see  the  prize-fights. 

Dinner  jackets  are  now  the  last  word  in 
prize-fight  attire.  At  least  the  first  ten  rows 
gleam  with  white  bosomed  spectators.  Two 
prize-fighters,  new  to  Hollywood  and  unaware 
of  the  English  trend,  made  their  first  appear- 
ance at  a  recent  Hollywood  fight. 

No  sooner  had  the  burly  boxers  stepped  into 
the  ring  than  the  referee  handed  them  a  dainty 
cup  of  steaming  liquid. 

"  Wot's  dis?"  they  asked  suspiciously. 

The  referee  raised  a  reproving  eyebrow.  "It's 
your  tea,"  he  said,  "don't  be  silly."  Like  a  flash 
the  two  fighters  were  at  him,  tearing  the 
screaming  referee  into  bits  before  someone 
interfered. 

The  fight  progressed  amid  subdued  enthusi- 
asm. Finally  one  fighter  landed  a  terrific  blow 
on  the  other's  head.  There  was  a  ripple  of  hand- 
clapping  from  the  audience 

"Jolly  well  struck,  that  blow,"  some  ruffian 
from  the  fifth  row  said,  and  that  ended  it. 


Naturally,  the  errors  in  swanky  drawing- 
rooms  gone  British  are  just  too  ghastly.  For 
instance,  one  hostess  asked  a  certain  screen 
villain  if  he  would  like  a  crumpet.  "No,  lady," 
he  answered,  "I  could  never  learn  to  blow  the 
darn  thing.  I'm  good  on  the  bass  drum 
though." 

"Tell  me,"  a  hostess  gurgled  to  Nat  Pendle- 
ton, "how  would  you  like  to  play  cricket?" 

"Yea,"  Nat  snapped  with  scorn,  "I  see 
myself  rubbing  my  two  legs  together  to  make 
a  funny  noise.  Why  not  let  me  play  I'm  a  bee 
and  sting  somebody?  " 

"Do  you  know  anything  about  Piccadilly?" 
another  gone-British  dowager  asked  a  screen 
comic. 

"Oh,  sure,"  he  replied,  "my  mother  made  it 
out  of  green  tomatoes." 

"He  means  piccalilli  as  I  stand  here  and 
breathe,"  an  actress  gulped  before  she  fell  in  a 
swoon. 

And  then  there  was  Bill  Gargan  who  landed 
home  one  day  and  the  next  went  crazy  for  a  bit 
of  good  old  English  bacon.  "I've  got  to  have 
some  Wilshire  bacon  or  I  can't  live,"  Bill 
howled  as  he  raced  from  one  restaurant  to 
another  in  his  search. 

"You're  sure  you  aren't  mixed  up  with  Wil- 
shire    Boulevard?"     one     inn-keeper    asked, 


which  only  sent  Bill  off  all  over  again.  At  la 
at  the  Vendome  he  thought  he  had  found  i 
But  Bill  took  one  look  at  what  passed  forWi 
shire  bacon  and,  putting  his  head  down  on  tl 
table,  sobbed  out  his  heart. 

After  six  actors  and  two  waiters  had  finall 
calmed  him  down,  Bill  decided  to  try  the  mu 
fins  and  marmalade.  But  again  the  marmalac 
.proved  another  wash-out  so  Bill  rushed  horr 
to  the  English  cook  he  had  brought  with  hin 
and  the  two  are  now  busily  pouring  kettles  < 
jolly  old  English  marmalade  into  jolly  litti 
jars  and  are  selling  the  stuff  as  fast  as  it  can  b 
made — and  no  kidding.  So  get  in  your  oidt 
early.  But  can  you  see  the  red-headed  Iris 
Gargan  lad  diddle-daddling  around  with  h; 
little  pots  of  marmalade? 

People  who  sell  merchandise  in  Hollywoo 
shops  are  no  longer  clerks.  They  are  now  dark: 
No  relation  to  the  Gables,  of  course.  Why,  th 
English  craze  has  even  spread  to  the  telephon 
operators. 

A  comedian,  a  little  dizzy  from  too  muc 
English  tonic  water,  strolled  into  a  telephon 
booth  and  asked  for  a  number.  Presently  th 
operator's  voice  answered,  "Are  you   there? 

"Well,  not  altogether,"  the  actor  apologizes 
"You  see,  I  inherited  a  little  mental  troubi 
from  my  Aunt  Hattie." 


A  famous  Hungarian   star  and  his  wife  come   to  Hollywood.     They  are 

Mr.  and  Mrs.  Peter  Lorre.     Mr.  Lorre  has  been  signed  by  Columbia. 

His  first  picture  will  be  "Crime  and  Punishment" 


98 


Photoplay  Magazine  for  February,  1935 


99 


'Go  on,"  interrupted  the  operator,  "you're 
t  ough,  sir." 

rhe  Bellamys  also  suffered  a  terrible  fate 
>n  their  return  home.  British-like,  they 
peed  their  best  shoes  outside  the  bedroom 
ibr,  their  first  night  home,  for  a  bit  of  polish- 
up.  Next  morning  they  opened  the  door, 
al  no  shoes.  Ringing  for  a  servant,  in  walked 
i  young  Filipino  house  boy  in  Ralph's  best 
Sies  and  behind  him  strutted  the  cook  in 
J  s.  Bellamy's  best  pumps. 

'Tankee,"  the  house  boy  grinned.  "You 
tow  away  shoes.  We  keep." 

I'hey  didn't  have  the  heart  to  say  him  nay. 
\a,  going  British  costs  money,  me  lads.  For 
i  tance,  there's  the  gay  young  actor  about 

ni  who  wanted  to  be  a  bit  daring  and,  wav- 

■  to  a  strapping  big  Irish  cop,  called,  "I  say, 

re's  a  bobby  for  you." 

'HE  cop  instantly  motioned  for  him  to  stop. 

'  So, "he  said,"  I'm  a  bobby  type,  am  I?  Well, 

ttt  crack  will  cost  you  five  bucks,  and  Gawd 

1  p  ye  if  ye  ever  call  me  a  Percy.   Drive  on  " 

Jf  course,  English  passion  for  abbreviated 
i!mes  could  never  be  passed  up  in  Hollywood. 

think  the  English  could  call  Cholomondeley 
ijiin  old  Chumley  and  Worcestershire  just 
nin  Wooster,  was  just  too  much  for  the  hom- 
it  pigeons.  No  sooner  had  the  last  little  group 
laded  in  Hollywood  than  Toluca  Lake,  inno- 
mt,  well  meaning  little  Toluca  Lake,  mind 
\u,  that  wouldn't  lift  a  hand  against  a  fly, 
Itcome  overnight  just  plain  "Tooley."  Warner 
Bothers  First  National  in  Burbank  is  now 
'A'ootsey  in  Bootsey."  So  if  you  say  Tootsey 
"irks  at  "Wootsey  in  Bootsey,"  isn't  every- 
ing  just  "cutesy"? 

JBut  for  some  reason,  everyone  felt  that  after 
;  Beverly  Hills  being  what  it  is  and  all,  it 
iinuld  never  be  gobbled  off  in  one  gulp,  what 
jth  all  those  big  houses  and  swimming  pools 
;  (1  Dietrich  and  things.  So  by  simply  revers- 
h  the  English  habit  of  shortening  names,  they 
mid  make  it  work  two  ways.  So,  strangely 
«ough,  Beverly  Hills  is  now  Bevhellary  Hill- 

)^ington-on-the-Sound.  Pretty,  isn't  it? 
Well,  I  tell  you,  visitors  who  have  been  out 
'i  town  return  to  "Hooey"  (that's  English  for 
;jllywood,  you  know)  and  see  sights  and  hear 
unds  they  never  have  heard  before.  We're 
ore  English  than  the  island  itself. 


* 


N  actor  just  back  from  New  York  tells  of 
'rushing  into  a  major  studio  set  one  afternoon 
!iout  four  o'clock.  He  opened  the  sound  door 
id  stopped  dead  in  his  tracks.  At  a  cozy  little 
a  table  sat  the  he-mannish  director.  Instead  of 
s  usual  snorting  and  ranting  he  was  calmly 
ibibing  a  snack  of  tea.  With  scones!  Fasci- 
iting  little  things,  scones,  don't  you  think?  A 
irtrayer  of  hard-boiled  gangster  roles  was 
ibbling  on  a  watercress  sandwich  and  sipping 
s  oolong.  What's  more,  the  electricians  sip- 
;d,  the  carpenters  sipped,  and  the  prop  boy 
pped.  Tea  over,  the  director  asked  calmly, 
A  ell,  shall  we  proceed  with  another  scene?" 
!  hereupon  the  visitor  crawled  from  the  set 
id  tore  to  his  manager's  office. 
"Say,"  he  began,  and  then  stopped.  About  a 
a  table  sat  his  manager,  several  rough  and 
ady  newspaper  reporters,  a  plumber  who  had 
'en  fixing  the  pipes  and  two  hard-fisted  actors. 
,  The  chauffeur  suddenly  appeared  with  a  tray 
pastries.  "Boss,  have  I  gotta  wash  the  tea 
ings  again  tonight?"  he  asked.  Mumbling, 
e  visitor  crept  away,  only  to  run  headlong 
to  Max  Baer,  Georgie  Raft  and  his  body- 
■ard,  "the  Killer." 

"Wait,  wait  fellows,"  he  cried,  "I—" 
"Can't  stop  now,"  Maxie  cried.  "Boy,  we'll 
•  late  for  tea.   See  you  again." 


I'M  LARGER  THAN  EVER 
YET  DEALERS  ARE  SELLING  ME 

FOR  LESS ! 


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Practically  everybody  has  wanted  to  use 
a  real  film-removing  tooth  paste.  Now 
that  druggists  are  selling  Pepsodent  at 
new  low  prices,  you  don't  need  to  risk 
the  use  of  so-called  "bargain"  denti- 
frices. Get  a  tube  of  Pepsodent  as  soon 
as  your  drug  store  displays  the  new 
larger  package  identified  by  the  red 
banner.  Look  for  it  TODAY. 


WHY 

this  greater  saving 
is  possible 

Over  a  hundred  million  tubes  of 
Pepsodent  have  been  sold.  Year  after 
year,  people  have  gladly  bought 
Pepsodent  .  .  .  rather  than  endanger 
teeth  by  buying  harsh,  gritty  "bar- 
gain" tooth  pastes.  Now  new  proces- 
ses have  cut  costs  . .  .and  we're  passing 
this  saving  on  to  you.  Today  dealers 
are  selling  Pepsodent  in  a  new  larger 
tube  ...  at  a  new  low  price. 


A  beautiful  skin  is  a  responsibility — to  keep  it  that 
way,  believes  Gloria  Stuart.  Here  she  illustrates 
an  effective,  thorough  cleansing  method.  Herb 
sachets  are  soaked  in  very  warm  water  for  beautify- 
ing vapors 


Gloria  then  gives  her  face  full  benefit  of  a  thorough 
steam  bath  from  the  herb-laden  moisture,  which  is 
cleansing,  clarifying,  softening.  A  herb  balm  is 
applied,  allowed  to  remain  for  a  while,  then  rinsed 
well  away 


PLAN  YOUR  BEAUTY 


[  CONTINUED  FROM  PAGE  81  | 

fresh  turkish  towel  rub  your  skin  thoroughly 
but  gently  in  light,  rotating  movements.  This 
trick  will  help  the  removal  of  dead  skin,  arouse 
your  circulation  and  help  tone  your  face 
generally. 

For  skins  that  suffer  from  the  usual  blem- 
ishes of  blackheads,  whiteheads  and  acne  con- 
ditions, most  of  which  are  caused  by  faulty 
care,  there  are  special  cleansing  methods  for 
you,  and  I  tell  you  about  some  of  them  in  one 
of  my  leaflets  which  you  may  have  if  you  will 
write  to  me. 

Even  if  your  skin  care  irks  you  at  times, 
please  don't  neglect  it.  Remember  that  the 
condition  of  your  skin  today  and  tomorrow 
and  the  day  after  that  depends  largely  upon 
systematic,  thorough  care.  There  is  little  use 
in  taking  pains  for  a  week  or  two  then  neglect 
ing  yourself  for  even  a  few  days. 

There  are  many  splendid  creams,  lotions, 
unguents  and  other  aids,  but  they  are  not 
magic.  They  cannot  undo  in  a  week  what  has 
perhaps  been  done  over  a  period  of  years. 

Hair  grows,  ordinarily,  at  the  rate  of  half  an 
inch  a  month,  according  to  the  best  authorities 
I  know  on  the  subject.  That  means  that  in  the 
course  of  a  year  you  might  have  six  inches  of 
brand  new  hair.  A  consoling  fact  for  those  of 
you  who  are  not  satisfied  with  the  present 

100 


By  Carolyn  Van  Wyck 


"DEAUTY  at  Bedtime"  is  a  help- 
'— '  f  u  I  leaflet,  telling  you  the 
names  of  beauty  aids  as  well  as 
how  to  use  them.  "The  Perfect 
Home  Manicure,"  making  it  pos- 
sible for  you  to  do  a  good  job  on 
your  own,  and  "Skin  Worries," 
which  helps  you  to  overcome 
blackheads,  whiteheads  and  erup- 
tions, are  also  on  hand  and  yours 
for  a  self-addressed,  stamped  en- 
velope. Carolyn  Van  Wyck, 
PHOTOPLAy  Magazine,  1926 
Broadway,    New   York   City. 


texture  or  tone.  Hair  responds  quickly  to 
proper  treatment,  thorough,  mild  shampoos, 
reliable  tonics  for  correcting  the  troubles  of 
dryness,  oiliness,  thinness  and  dandruff.  There 
are  scientific  preparations  for  correcting  your 
individual  troubles,  and  I  can  vouch  for  the 
fact  that  they  work.    Again,  no  magic.    If  dry- 


ness is  the  trouble,  we  choose  a  tonic  that  en- 
courages the  glands  to  secrete  more  oil;  if  too 
much  oil  is  our  woe,  we  use  something  to  dis- 
courage the  overflow  on  the  scalp  and  hair. 
And  so  on  goes  the  work  of  these  understand- 
able, practical  aids. 

Since  nails,  too,  are  always  replacing  them- 
selves and  the  growth  extends  about  an  eighth 
of  an  inch  under  the  cuticle,  you  can  see  how 
the  daily  use  of  a  lubricating  cuticle  oil  or 
cream  might  soon  reward  you  with  a  firm, 
smooth  nail  even  if  your  own  are  now  brittle 
and  flaking.  While  this  condition  is  often  due 
to  some  chemical  lack  in  our  bodies,  the  oils 
and  creams  really  do  wonders  toward  supply- 
ing a  lubricant. 

A  workable  beauty  plan  for  many  might  be 
the  following,  preferably  at  night:  thorough 
face  cleansing,  application  of  cream  about 
eyes,  on  any  lines  and  over  neck  and  hands. 
Use  of  a  grower  on  lashes,  and  brows,  if  de- 
sired. A  thorough  hair  brushing  and  use  of  a 
tonic  if  the  hair  is  not  satisfactory.  When  in 
good  condition,  a  weekly  use  of  tonic  is 
enough.  Use  of  a  cuticle  cream  or  oil.  All  this 
takes  little  time  and  as  you  become  adept  at 
following  this  little  schedule,  you  will  soon 
be  amazed  how  little  time  it  takes  to  insure 
that  new  growth,  which  in  turn  spells  new 
beauty  for  you. 


Photoplay  Magazine  for  February,   1935 


I  o  I 


lhe  New  Ambitions  of 
Joan  Crawford 


[  CONTINUED  FROM   PAGE   77  | 

li;e  theater.  Mysterious  because  few  have 
sn  it.    "You're  one  of  the  first,"  Joan  said. 

t's  white,  with  natural  wood  paneling. 
Si  pie,  but  tastefully  attractive,  Joan  and  Bill 
H  nes  designed  it. 

Between  pictures  we're  going  to  put  on  one- 
ai plays,"  she  said.  "The  more  literary  plays. 
Vi  see  it's  a  hobby,  an  experiment,  and  an 

cation  all  at  once.  You  know  how  pitifully 
li  e  education  I  really  have — " 

didn't.  I  knew  she  had  gone  to  three  girls' 
3(  doIs. 

Where  I  learned  mostly  how  to  work,  and 
w  ;re  I  thought  mostly  of  getting  away,"  said 
J  n.  "The  things  I've  studied  since  I  came  to 
I  lvwood  have  been  the  things  I  had  to  learn 
fc  the  screen — diction,  screen  technique.  But 
n  t  I  want  something  more,  something  of  the 
tiigs  I've  missed.  Every  minute  that  I'm 
a  le  I  read  aloud.  And  I  have  a  dictionary 
hidy.  I  used  to  have  a  professor  from  the 
uversity  come  up  and  tutor  me  every  week. 
It  I  had  to  stop  that.     I  was  so  busy  " 

1\SKED  her  who  would  act  the  plays — 

>hc  and  her  intimate  group  of  friends? 

oan  nodded.  She  read  my  thoughts.  "  I've 
h.rd  about  my  going  high-hat,"  she  volun- 
t  red,  "and  restricting  myself  to  an  'intimate 
g|up.'  I'm  not  high-hat.  But  I  have  so  little 
He  that  I  can't  waste  it  on  people  to  whom  I 
ci't  give  something.  I  used  to  think  I  had 
l4  of  friends.  Then,  when  Douglas  and  I 
skirated,  I  found  I  had  two — just  two  real 
f  ;nds.  Now  I  have  five.  I  know  they're  my 
f'mds,  because  they  have  come  back  I  can 
P|e  them  something,  and  they  have  much  to 
ge  me.    But  Hollywood — 

'Hollywood  doesn't  mean  anything  to  me. 
lis  just  a  name  to  me  now.  I'm  completely 
akrt  from  it.  My  studio  is  in  Culver  City, 
an  my  home  is  here.  Hollywood  used  to  mean 
s  much  to  me.    It  was  my  life. 

'  When  I  first  came  out  I  sat  around  for 
iinths  with  nothing  to  do.  They  wouldn't 
en  let  me  touch  greasepaint.  I  had  to  let  my 
dprgy  out  somehow,  so  I  went  dancing.  I 
fed  to  dance,  then,  so  I  became,"  Joan 
j;nned  wryly,  ''the  'hey-hey'  girl. 
''But  I'm  not  sorry.  I  think  it  helped  me 
«y  early  in  pictures  although  I've  never  yet 
Ipn  able  to  get  away  from  the  'modern 
■tierican  girl '  classification. 
j'But  Hollywood  was  capable  of  hurting  me 
a  much.  The  things  about  Hollywood  that 
(uld  hurt  me  then,  can't  touch  me  now.  I 
a  Idenly  decided  that  they  shouldn't  hurt  me — 
it  was  all. 

|'I  have  a  memory  like  an  elephant,"  she 
s  iled. 

As  we  left  the  little  theater,  Joan  assured  me 
'jit  her  ambitions  for  the  future  were  still 
cinitely  with  the  screen,  in  spite  of  all  this 
j  i<t  talk. 

; '  I  wish  I  could  do  one  stage  play  a  year,  be- 
'jise  I  need  the  training.  But  I'm  just  as 
•  xious  to  do  a  costume  play  on  the  screen. 

I  like  to  do,"  she  hesitated,  "Joan  of  Arc!" 

f  said  she  had  the  right  name, 
i  'It  would  thrill  me  a  great  deal,"  she  sighed, 
h  do  one  costume  play  a  year.     I've  never 
ine  one.    When  I  was  doing  all  of  those  flam- 

•  youth   parts   I   wanted    badly    to    be   a 


When 


reams 


come  true 


Ask  the  women  of  the  world  how 
many  dreams  come  true  .  .  .  ask  them  also  how  many  creams 
come  true  to  the  dreams  of  beauty  they  build  up  in  a  woman's 
mind  .  .  .  and  out  of  the  answers  shall  come  a  whole  litera- 
ture of  disillusionment  .  .  .  yet,  not  all  dreams  are  false  and 
not  all  creams  are  failures  ...  do  not  give  up  the  quest  for 
beauty  just  because  you  have  not  found  it  in  the  formulas 
you  are  using  .  .  .  keep  up  the  search,  but  try  some  other 
clue  ...  it  is  in  that  spirit  that  we  suggest  Luxuria  and  re- 
lated Harriet  Hubbard  Ayer  preparations  .  .  .  the  world's 
most  famous  family  of  fine  beauty  formulas  ...  so  pure  in 
quality  and  so  sure  in  the  benefits  they  bring  to  skin  and  com- 
plexion that  two  million  women  have  realized  their  dreams 
of  loveliness  in  the  daily  beauty 
regimen  that  begins  with  Luxuria. 


HARRIET  HUBBARD  AYER,  inc 

323    EAST    THIRTY-FOURTH    STREET,    NEW    YORK  y,  ~ 


dramatic  actress.  Now  I've  done  several 
dramatic  parts,  but  you  can't  just  go  on  for- 
ever being  sad  and  making  people  cry. 

"The  picture  I  just  finished  is  a  comedy. 
They  wanted  comedy  and  I  tried  to  give  it  to 
them.  I  did  everything,  fell  on  my  face  even. 
And  I  liked  it.  In  the  future.  I'd  love  to  do  one 
very  heavy  picture,  one  costume  play  and  one 
comedy  a  year — and  a  stage  play  if  I  could 
squeeze  it  in." 

"  And  that  would  be  enough?" 

"Oh,  no,"  Joan's  face  tightened.  Her  eyes 
glistened.    "I  want  to  sing." 

"On  the  screen,  Joan?" 

"Yes,"  said  Joan,  "until  I'm  ready." 

"Ready?    For  what?    Grand  Opera?" 

She  nodded  eagerly,  almost  mischievously. 
"Oh,  it's  a  wild  dream,"  she  admitted,  "but 
you  never  can  tell.  It  would  thrill  me  to 
pieces." 

It  all  came  out.  She  has  been  taking  voice 
lessons  an  hour  every  day  when  she  isn't  work- 
ing. She  has  discovered  that  she  possesses  a 
voice  with  a  range  of  three  octaves — which  is 


quite  low  and  at  the  same  time  quite  high 
She  even  started  Franchot  Tone  singing, 
thereby  uncovering  a  very  impressive  basso- 
profundo  voice. 

And  it  seems,  he  likes  it  so  well  that  he  prac- 
tices at  six  o'clock  in  the  morning  and  during 
lunch  hours! 

"I'm  going  to  sing  in  my  next  picture,"  she 
told  me,  "for  the  first  time.  Popular  songs," 
she  added.  "So,  I'm  going  to  give  them 
strictly  a  crooning  voice." 

I  wondered  if  I  could  hear  the  voice,  and 
Joan  said  she  had  some  records  in  the  house. 

We  played  them.  Some  were  the  "crooning 
voice"  and  some  were  what  "my  teacher  said  I 
had  courage  to  even  try,"  smiled  Joan. 

T  'M  no  vocal  critic,  but  I  thought  her  voice 
was  lovely — a  low,  rich  mezzo-soprano,  not 
fully  trained,  but  clear  and  promising.  I 
wouldn't  be  a  bit  surprised  if,  some  day,  she 
made  that  wild  dream  of  opera  come  true. 

In  fact,  I  wasn't  surprised  when  she  told  me 
that  besides  wanting  from  the  future  a  screen 


star's  continued  glory,  a  stage  star's  self-con 
fident  poise,  and  an  opera  singer's  career,  shi 
also  wanted  to  dance,  really  dance.  Classi 
cally.    Ballet. 

You  can  tell  by  her  eager,  restless  face  tha 
she  still  wants  many  things. 

I  wondered  if  she  wanted  marriage  again. 

"What  about  marriage?"  I  asked  her. 

"  What  a  shame,"  Joan  said,  pointing  to  thi 
back  of  my  coat.  "All  white.  It's  off  the  lawi 
chairs     I'm  so  sorry." 

It  was  disconcerting,  because  the  suit  wa 
new  and  also  dark.  I  dusted  furiously,  bu 
rallied. 

"  What  a — " 

"  What  a  pity,"  said  Joan,  "that  you  have  t< 
leave.     I'll  get  your  hat." 

I  waited  grimly  at  the  door. 

She  returned,  smiling  sweetly. 

"What  about  marriage?"  I  repeated,  "I'vi 
got  to  say  something  about  it." 

"Why  don't  you  say,"  suggested  Joan 
handing  me  my  hat,  "that  you  asked  me  abou 
marriage  and  I  changed  the  subject." 


What  I  Like  and  Hate  About  Myself 


CONTINUED  FROM  PAGE  69 


fortable,  or  bored  part  of  the  time.  See  what 
1  mean?" 

From  the  eager,  vital,  impetuous  Lee  Tracy 
I  went  to  see  the  beautiful  Anna  May  Wong 
on  the  "Limehouse  Blues"  set.  Rehearsing 
for  the  part  of  the  dancer  in  the  noisy,  smoky 
den,  she  stood  with  an  immense  dignity  on  the 
dingy  platform  ...  a  thousand,  slanting, 
Chinese  years  back  of  her  unshakeable  poise. 

"I  never  like  people  who  like  themselves," 
she  told  me.  "There  are  traits  and  emotions, 
however,  which  certainly  create  likes  and  dis- 
likes within  a  person.  I  probably  have  genera- 
tions of  self-disciplined  ancestors  to  thank  for 
what  I  like  most  about  myself:  the  ability  to 
face  situations  calmly.  That  is  a  Chinese  trait 
which  has  not  been  difficult  for  me  to  develop. 
In  fact,  I  think  little  of  it  until  I  see  others  go 
to  pieces,  so  to  speak.  I  am  so  hard  to  rile 
that  sometimes  I  get  provoked  with  myself  for 
not  flaring  up  once  in  a  while.  Some  people 
seem  to  go  through  life  looking  for  fights.  I 
shrink  from  them.  It  certainly  is  not  coward- 
liness, for  nothing  I  have  encountered  so  far 
has  frightened  me.  I  am  simply  thoroughly 
convinced  that  temper  and  anger  are  against 
all  standards  of  right  living,  and  I  do  not  count 
them  among  my  emotions.  Certainly,  Holly- 
wood is  a  difficult  place  in  which  to  keep  calm. 
But,  I  have  and  like  that  ability.  Yet  I  take 
little  credit  for  it.     I  was  born  with  it." 

Alice  White  likes  the  impression  she  gives 
on  the  screen  of  being  the  fresh  little  kid  next 
door.  She  told  me  that  old  ladies  would  come 
back  stage  during  her  recent  personal  appear- 
ance tour  and  call  her  "Alice,"  explaining  that 
they  couldn't  help  it.  They  felt  they  really 
knew  her! 

She  dislikes  the  parts  she  plays,  however. 
"  Nothing  annoys  me  more  than  the  little  wise- 
cracking, gaga  snips  I  play,  but  I  look  so 
young  when  I  get  a  good  cameraman  that  no- 
body will  cast  me  as  a  girl  with  any  brains." 

As  a  person,  she  likes  the  fact  that  she's 
learned  not  to  take  herself  too  seriously.  "I've 
travelled  around  the  country  a  bit  and  I've 
seen  that  other  people  have  lives,  too. 

"But  what  I  can't  stand  about  myself  is  my 
eternal  procrastination.     A  friend  of  mine  re- 


cently had  a  baby,  and  I  kept  telling  myself 
to  send  her  a  telegram.  I've  told  myself  for  a 
long  time  now,  but  when  I  do  send  it  the  baby 
will  be  grown  up." 

Francis  Lederer  disposed  of  the  whole  matter 
in  a  few  positive,  well-chosen  words: 

"I  do  not  like  anything  about  myself  either 
personally  or  on  the  screen.  My  performance 
on  the  screen  is  like  the  picture  a  painter 
would  paint — and  he  is  never  satisfied.  That 
is  why  I  am  not  satisfied.  I  am  striving  for  a 
fine  performance,  and  I  always  feel  that  I  have 
fallen  short  of  what  I  had  hoped  to  achieve. 
Although  you  will  not  believe  me,  there  is 
nothing  about  myself  off  the  screen  that  I  like, 
either.  In  fact,  of  all  the  people  I  know,  I  like 
myself  the  least." 

T7"AREN  MORLEY,  I'm  afraid,  waxed 
a  little  facetious  when  she  chose  her  new 
false  eye-lashes  as  the  thing  she  likes  best 
about  herself  on  the  screen.  "They  are  beauti- 
ful," she  said  earnestly,  "just  the  kind  of 
lashes  I've  always  longed  to  have,  and  they 
look  as  if  they  grew  on  me. 

"The  thing  I  like  least  about  myself  on  the 
screen  is  my  walk.  I  really  can  walk  nicely  if 
I  think  of  it,  but  when  I'm  playing  a  part,  I'm 
too  mentally  occupied  with  it  to  watch  my 
walk.  And  then  when  I  see  myself — whew!" 

As  an  individual,  she  voted  for  her  ability 
to  give  an  imitation  of  the  great  Garbo.  That 
is  her  pet  like.  The  quality  she  most  dislikes 
in  herself  is  her  absentmindedness.  One  morn- 
ing, she  even  forgot  to  bring  her  treasured  eye- 
lashes to  the  studio! 

No  mother  ever  told  her  little  girl  that  she 
couldn't  play  with  Madge  Evans.  Practically 
any  mother  would  be  happy  to  leave  her 
children  with  Madge  when  she  went  shopping. 

"And  that,"  says  Miss  Evans,  "is  what  I  dis- 
like about  myself  on  the  screen.  I  dislike  my 
extreme  reliability.  I'm  always  cheering  some- 
one on  to  win  a  football  game  or  to  make  a 
man  of  himself.  I'm  always  safe.  I  always  do 
the  right  thing.  I'd  like  to  be  just  a  little  less 
reliable.  But  I  do  like  the  way  I  wear  my 
sports  clothes  on  the  screen. 

"I  have  a  major  fault  as  a  person  that  I 


would  like  to  correct.  I'm  always  imaginin: 
that  I  have  hurt  someone.  I'm  not  demon 
strative.  I'm  lacking  in  even  the  most  com 
mon  social  graces.  It's  impossible  for  me  ti 
go  up  to  a  close  friend  and  say,  'Hi — you- 
like  you!'  I'd  love  to  be  utterly  and  devastat 
ingly  charming,  but  it's  impossible.  And  si 
I'm  always  wondering  whether  so  and  so  i: 
hurt.  There  is  one  thing,  and  one  thing  only 
that  I  like  about  myself.  I'm  not  afraid  o 
anything." 

Neil  Hamilton  flatly  refused  to  give  me  a  like 
So  he  made  up  for  it  by  giving  me  four  dis 
likes.  He  dislikes  his  smile  on  the  screen.  "I 
looks,"  he  says,  "just  like  a  scared  rabbit  look 
ing  up  at  a  mad  elephant."  He  also  thinks  hi 
uses  too  many  gestures.  He  dislikes,  off  thi! 
screen,  his  total  inability  to  follow  anythin; 
to  its  logical  conclusion,  and  his  lack  of  matun 
judgment  of  people. 

And  now  I'll  fool  him.  What  I  like  abou 
him  is  his  vitality,  his  tremendous  enthusiasms 
He  goes  whole-heartedly  at  everything,  am 
nothing  lasts  very  long.  When  he  was  buildin; 
his  home,  he  couldn't  think  of  anything  else 
Then  it  was  finished  and  you  couldn't  get  hin 
off  his  boat.  Then  he  built  a  swimming  poo 
and  practically  lived  in  it,  until  it  was  sup 
planted  by  a  tennis  court.  Then  he  took  u] 
bicycling,  then  hiking.  Then  he  discovered  : 
hermit  living  in  the  hills  and  went  up  ther 
and  stayed  a  week,  eating  nothing  but  rav 
vegetables.  Then  he  decided  to  study  French 
Next  came  a  period  devoted  solely  to  health 
with  trainers  and  everything.  Then  he  tool 
up,  in  rapid  succession,  music,  art  and  hor 
ticulture.  His  latest  enthusiasm  is  a  cav 
which  he  discovered  near  his  house.  He  prac 
tically  lives  in  it,  cooking  his  own  meals,  an<- 
the  family  has  to  send  messages  out  to  him. 

Neil  wouldn't  tell  his  likes.  Douglas 
Montgomery  wouldn't  tell  his  dislikes. 

"My  mother  told  me  when  I  was  a  chih 
'For  goodness'  sake,  don't  tell  your  faults  t 
people.  They  might  miss  some  of  them.'  S 
I  refuse  to  tell  any  of  my  faults,  becaus 
people  would  immediately  flock  around  thet 
like  bees  around  a  pot  of  honey  if  I  drew  a: 
tention  to  them.     But  Lordy!  how  I  can  tal 


102 


Photoplay  Magazine  for  February, 

il  ut  my  likes!    This  is  a  chance  of  a  lifetime! 

To  begin  with,  I  like  my  high  cheekbones, 

ai  I  like  one  side  of  my  face,  and  the  area 

it  tnd  the  eyes  and  the  cheek  bones.  I'm 
gi  eful  that  my  ears  don't  stick  out,  although 

I  have  no  lobes  and  fall,  therefore,  into  the 
cninal  class.     I  like  my  voice  because  it  is 

U  beautiful  and  therefore  does  not  detract 

rn  what  I  am  saying.     My  legs  are  good, 

a  1  the  exception  of  my  knees,  which  knock, 

a  my  back  is  all  right.  Outside  of  that,  I'm 
tciible.  I'm  a  great  disappointment  to  my- 
sci  as  an  individual  and  as  an  actor." 

rlissa  Landi  dislikes  her  mouth  on  the 
sc  en.  She  likes  her  walk — the  way  she 
rryes.  Off,  she  likes  her  ability  to  tell  the 
ti[h  under  all  circumstances,  and  she  dislikes 
hi  quick  temper.  Both,  she  said,  get  her 
in  the  same  amount  of  trouble.  And  I  like 
tl  way  she  answered  those  questions — 
qfckly,  and  honestly,  and  straight  from  the 
slulder. 

une  Knight  likes  her  voice  and  the  fact 
tlit  on  the  screen  she  has  more  personality 
tin  beauty.  She  dislikes  the  way  she  walks. 
S  likes  about  herself  her  inability  to  say 
"n't."  "I  have  overcome  so  much  (she  was 
opled  for  years  and  by  sheer  determination 
n  de  herself  into  a  very  fine  dancer)  that  I 
h»e  a  feeling  there  is  nothing  I  cannot  do." 
Bt  she  dislikes  her  wholesale  trust  in  people. 
Evelyn  Venable  said,  "I  can't  stand  various 
life  idiosyncrasies  I  have  that  I  never  knew 

0  until  I  saw  myself  on  the  screen.  For 
hjtance,  I  never  knew  that  I  raise  my  eye- 
bjws  every  time  I  smile.  Ever  since  I  first 
s,'  myself  do  that  in  a  picture,  I  have  tried  to 
cltrol  it  and  now  I  am  quite  self-conscious 
ajmt  it. 

FI  didn't  like  the  way  I  walked  when  I  first 
s  I  myself.  So  I  set  about  to  develop  an 
eirely  new  carriage.  I  use  my  pictures  as 
i)1  examination  papers,  and  I'm  still  far  from 
g  duation. 

''What  do  I  like  about  myself?  I'll  tell  you 
vat  I  would  like.  I  would  like,  some  day,  to 
g  a  chance  to  do  Shakespeare  on  the  screen. 
\ien  I  do,  I'll  tell  you  if  I  like  myself." 

kittle  Raquel  Torres  could  think  of  only 
c:  like — her  loyalty  to  her  friends.    She  dis- 

1  ;s  her  ability  to  be  fooled  in  her  judgment 
c people,  and  she  dislikes  (of  all  things!)  her 
a::ent  on  the  screen. 

\nd  so  I  went  back  to  report  to  my  little 
1  ;h  school  friend. 

I*  I've  found  out  something,"  I  told  her. 
'  'he  bigger  you  are  on  the  screen,  the  more 
sf-critical  you  become.  Because  a  million 
pple  write  letters  of  admiration  to  you  does 
rt  mean  that  you  become  serene  with  a  feel- 
i|;  of  perfection.  The  more  seriously  you 
t:e  your  screen  career,  the  more  attention 
Ji  pay  to  your  faults." 

\nd  I  told  her  the  results  of  my  investiga- 
te. 

'Then  you  think  it  is  all  right  for  me  to  go 
1i  plastic  surgeon  and  have  my  nose  changed?  " 
x  said  eagerly.  "But  Mother  has  forbid  me 
I  go,"  she  added. 

'Your  mother,"  I  said  firmly  and  with  great 
iginality,  "knows  best.  All  I  wanted  to 
l>ve  to  you  is  that  famous  people  of  the 
seen  are  human  beings  and  not  conceited 
licocks.    Fame  has  not  dulled  their  capaci- 

s   for  self-analysis.      So    admire    them   for 

tat  they  are,  and  don't  envy  them  for  a  self- 
::isfaction  they  haven't  got.    A  lot  of  them 

ve  mothers  who  won't  let  them  cut  off  their 

ses,  either." 

And  with  that  I  went  home  to  my  mirror  to 
|:  what   I   wanted   the  plastic   surgeon   to 

irt  on. 


1935 


<t 


83  %  of  my  mail  says 
Wondersoft  Kotex 

ends  chafing  entirely!" 


A  MILLINER,  who  sits  at  her  work  all  day, 
writes  to  tell  me  that  Wondersoft 
Kotex  has  relieved  her  entirely  of  the  chaf- 
ing that  used  to  make  her  "perfectly  miser- 
able." That's  because  Wondersoft  Kotex  is 
filmed  in  tender  cotton  at  the  sides,  where 
the  pad  touches,  but  the  surface  is  free  to 
take  up  moisture. 

A  housewife,  on  her  feet  from  morning 
till  night,  says  pads  always  used  to  rope  and 
pull  and  twist  but  "Wondersoft  seems  to 
adjust  itself  perfectly  to  the  body." 

Mary  K.  writes  me:  "The  best  thing  about 


One  Woman  Tells 

Another  Abouf 
This  New  Comfort 


Wondersoft  is  that  the  sides  are  always  dry 
and  next  best  I  like  those  smooth,  flat  ends. 
One  can  wear  any  sort  of  dress  and  not  feel 
a  trace  of  self-consciousness."  Yes,  Mary  K., 
this  new  Kotex  gives  greater  security  against 
soiled  lingerie,  too. 

Notice  what  some  of  the  usets  say  about 
Wondersoft  Kotex.  Then,  try  it  yourself  and 
I  am  sure  you  will  agree  with  them. 

Author  of  "Marjorie  May's  Twelfth  Birthday" 


Free  Booklets! 

Write  for  either  or  both  of  two 
authoritative  booklets  on  Femi- 
nine Hygiene— "Health  Facts  on 
Menstruation";  and  "Marjorie 
May's  Twelfth  Birthday",  for  a 
child.  Address  Kotex  Company. 
Room  1406,  919  N.  Michigan 
Avenue,  Chicago,  111. 


and  its  the  patenteo  clasp 

so  easy  to  is  so  secure -you 

fasten!  donI"  need  pins 


M  Tk 


e  /  vnswer  ivian 


Redd  This  Before  Asking  Questions 

Avoid  questions  that  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays  Do  not  inquire 
concerning  religion,  scenario  writing,  or  studio  em- 
ployment. Write  on  only  one  side  of  the  paper. 
Sign  your  full  name  and  address.  For  a  personal 
reply,  enclose  a  stamped,  self-addressed  envelope 


WHEN  Ross  Alexander  made  his  screen 
debut  in  "Gentlemen  Are  Born," 
everyone  started  asking  about  him. 
With  the  release  of  "Flirtation  Walk"  his  fol- 
lowing increased  by  leaps  and  bounds,  so  the 
old  Answer  Man  now  endeavors  to  tell  a  "wait- 
ing public"  all  about  him. 

He  has  been  in  the  theatrical  business  since 
he  was  four  years  old,  when  he  appeared  in  a 
play  called,  "A  Nest  of  Birds."  As  the  years 
rolled  around  he  appeared  in  such  plays  as 
"The  Ladder,"  "Under  Glass,"  "No  Ques- 
tions Asked,"  "After  Tomorrow,"  "Let  Us  Be 
Gay"  and  "The  Wooden  Slipper." 

Back  in  1932  Ross  appeared  briefly  in  a  pic- 
ture made  in  Paramount's  Eastern  Studio.  It 
was  "The  Wiser  Sex"  featuring  Claudette  Col- 
bert, Melvyn  Douglas,  Lilyan  Tashman  and 
Franchot  Tone.  Ross  went  back  to  the  stage 
after  that  and  forgot  about  making  pictures 
until  Hollywood  beckoned  last  year. 

Ross  was  born  in  Brooklyn,  N.  Y.,  July  27, 
1907.  He  is  6  feet,  \Y2  inches  tall;  weighs  160 
pounds  and  has  brown  hair  and  blue  eyes.  His 
family  name  is  Smith.  Last  February  he  was 
married  to  Aleta  Freile,  a  stage  actress.  All  you 
admirers  of  this  lad  can  address  him  in  care  of 
the  Warner-First  National  Studios,  Burbank, 
Calif.  His  latest  picture  is  "Maybe  It's  Love." 

Sid,  Newark,  N.  J. — The  cute  trick  who 
danced  with  Edward  Everett  Horton  in  the 
"Let's  Knock  Knees"  number  in  "The  Gay 
Divorcee"  is  Betty  Grable.  You  can  write  to 
her  in  care  of  the  RKO-Radio  Studios,  780 
Gower  Street,  Hollywood,  Calif. 

D.  &  M.,  Chicago,  III. — No  need  for  further 
scrapping,  boys,  you're  both  wrong.  Frank  Fay 
was  the  leading  man  in  "  Under  a  Texas  Moon." 
Raquel  Torres  and  Myrna  Loy  were  his  leading 
ladies. 

Music  Lovers  Everywhere — So  many 
have  sent  in  requests  for  the  names  of  the  songs 
that  Grace  Moore  sang  in  "One  Night  of  Love," 
that  I  have  to  answer  them  en  masse.  Here 
they  are:  "Sentre  le  libre"  from  "La  Traviata;" 
"Last  Rose  of  Summer"  from  "Martha;"  "La 
Habanera"  from  "Carmen;"  "Un  del  di"  (One 
Fine  Day)  from  "Madame  Butterfly;"  "Ciri- 
biri  Bin"  sung  in  the  Italian  Restaurant  scene. 
Grace  also  sang  in  the  sextette  from  "Lucia  di 
Lammermoor."  The  theme  song  of  the  picture 
was  "One  Night  of  Love." 

B.  R.  Smith,  Buffalo,  N.  Y. — Betty,  you're 
just  one  of  hundreds  who  has  fallen  for  Tullio 
Carminati.  Well  here's  the  low-down  on  him. 
Tullio  hails  from  Zara  Dalmatia,  Italy,  where 
he  was  born  September  21,  1896.  He  is  5  feet, 
11  inches  tall;  weighs  155  and  has  brown  hair 
and  blue  eyes.  His  real  name  is  Count  Tullio 
Carminati  di  Brambilla.  He  has  been  in  the 
theatrical   profession   since   he   was  nineteen 

104 


Tall,  slender  Ross  Alexander 
was  one  of  the  most  talented 
Broadway  juveniles  before  his 
entrance  into  talkies.  He  has 
been  making  pictures  for  three 
years.  His  latest  is  Warners' 
"Flirtation  Walk" 


years  old.  Upon  the  completion  of  "One  Night 
of  Love"  Tullio  went  to  Italy  to  make  a  pic- 
ture. He  is  back  in  Hollywood  again  ready  to 
make  more  American  pictures. 

Miss  Rae  Perino,  Allendale,  N.  J. — Rae, 
both  Leslie  Howard  and  Fredric  March  ap- 
peared in  "Smilin'  Through."  Leslie  played 
the  role  of  Jolm  Caleret  and  Fredric  was  Ken- 
neth Wayne.    Others  in  the  cast  were  Norma 


Casts  and  Addresses 

As  these  take  up  much  space,  we  treat  such  sub 
jects  in  a  different  way  from  other  questions.  For 
this  kind  of  information,  a  stamped,  self-addressed 
envelope  must  always  be  sent.  Address  all  inquiries 
to  Questions  and  Answers,  Photoplay  Magazine, 
1926  Broadway,  New  York  City. 


Shearer,  O.  P.  Heggie,  Ralph  Forbes,  Beryl 
Mercer,  David  Torrence,  Margaret  Seddon  and 
Forrester  Harvey. 

I.  Newton  Leigh,  Portland,  Ore.— The 
movie  based  on  Susan  Glaspell's  novel  "Brook 
Evans,"  was  released  under  the  title  "The 
Right  to  Love."  It  was  made  in  1930  by  Para- 
mount and  featured  Ruth  Chatterton,  Paul 
Lukas,  David  Manners,  Irving  Pichel  and  a 
notable  supporting  cast.  Richard  Wallace 
directed  the  picture.  If  you  want  a  complete 
cast  send  me  a  stamped  addressed  envelope. 

Hazel  Sayen,  Toledo,  Ohio — In  1927 
Dolores  Del  Rio  and  Rod  LaRocque  appeared 
in  "Resurrection"  for  United  Artists.  Uni- 
versal made  a  talkie  version  of  it  in  1931  with 
Lupe  Velez  and  John  Boles.  Anna  Sten  and 
Fredric  March  recently  appeared  in  still 
another  version  which  was  released  under  the 
title,  "We  Live  Again." 

Ruth  Mooney,  Chicago,  III. — Going  in  for 
altitude  records,  eh,  Ruthie?  Alice  Faye  is  the 
smallest  of  those  you  mentioned,  reaching  just 
5  feet,  2  inches.  Next  comes  Jean  Parker,  5 
feet  3;  then  Maureen  O'Sullivan  and  Claudette 
Colbert,  each  5  feet,  4  inches.  Elissa  Landi  and 
June  Knight  follow  with  5  feet,  5  and  Margaret 
Lindsay  tops  them  by  one  inch. 

B.  M.  Seymour,  Dallas,  Tex. — The  prin-' 
ciple  characters  in  "The  Hell  Cat"  were  Rob 
ert  Armstrong,  Ann  Sothern,  Benny  Baker, 
Minna  Gombell,  Charles  Wilson  and  J.  Carrol 
Naish.  Send  me  a  stamped  return  envelope  il 
you  want  a  complete  cast. 

Harold  Brennan,  Portland,  Ore.— 1 
don't  blame  you  one  bit  for  falling  for  Anita 
Louise.  Ah,  me,  if  I  were  only  a  young  ladj 
again.  Anita  is  a  born  New  Yorker,  the  event 
fill  day  being  January  9,  1917.  She  is  5  feet,  2 
inches  tall;  weighs  96  pounds  and  has  blonde 
hair  and  blue  eyes.  Her  real  name  is  Anits 
Louise  Fremault.  She  received  her  education 
in  New  York,  Hollywood  and  abroad.  Enteret 
pictures  in  1921  at  the  ripe  old  age  of  4  years 
Her  most  recent  pictures  are  "Judge  Priest,' 
"Most  Precious  Thing  in  Life,"  " Bachelor  o; 
Arts"  and  "Firebird."  Anita  is  "keeping  com 
pany"  with  Tom  Brown. 

E.  A.  F.,  La  Jolla.  Calif.— So  glad  to  hear 
from  you.  Ronald  Colman  was  born  in  Rich 
mond,  Surrey,  England,  February  9,  1891.  Hi 
is  5  feet,  11  inches  tall;  weighs  165  and  ha' 
black  hair  and  brown  eyes.  Made  his  debu 
into  pictures  in  England  in  1919  and  in  tin 
U.  S.  A.  in  1921.  Prior  to  that  he  was  on  tin 
stage.  You're  right,  he  appeared  in  botl 
"Raffles"  and  "Arrowsmith."  His  next  pictur 
is  "Give  of  India"  in  which  Loretta  Young  i 
his  leading  lady. 


Nonchalant  Noel 
Coward 


[  CONTINUED  FROM  PAGE  58 


Photoplay  Magazine  for  February,  1935  10C 

WITHOUT  COOKING  !  " 

w 


dducers  now  and  again  for  the  way  they 
Sidle  his  plays,  he  is  always  ready  to  applaud 
Men  they  produce  one  of  his  shows  in  a  way 
tit  pleases  him.  He  will  not  condemn  Holly- 
dod  because  the  movie  capital  changes  a  play 
iund.  He  will  make  a  joke  or  two  and  let  it 
d  at  that.  And  when  they  do  a  thing  like 
■Cavalcade"  he  is  the  first  to  be  on  hand  with 
itulations. 
I  have  some  jolly  good  friends  in  Holly- 
\  od,"  he  told  me,  his  hands  in  his  pockets  and 
H  head  back.  "I  enjoyed  myself  out  there.  I 
And  things  interesting.  They  wanted  me  to 
ikke  a  film,  but  I  couldn't  see  it  at  the  time." 
Greta  Garbo,  in  Noel  Coward's  eyes,  is  one 
(.  the  most  sensible  screen  players  in  Holly- 
Aod.  So  is  Ronald  Colman. 
j" It  seems  quite  obvious,"  he  said.  "They 
ike  comparatively  few  films.  They  stay 
lay  from  too  much  publicity  and  all  this 
ilshing  around  and  so  on.  They  do  things 
Jietly  and  steadily,  and  that's  what  really 
i|unts  in  the  long  run.  The  very  obvious 
&ult  is  that  they  are  welcome  by  film  audi- 
oes when  they  appear  in  a  picture." 
jit  sounded  like  good  logic.  Noel  Coward 
puld  not  have  made  a  fortune  in  the  theater 
'  thout  a  keen  sense  of  logic.  It  is  not  difficult 
|  realize  that,  looking  at  him. 

vTOBODY  knows  if  he  will  ever  make  a 
.  picture.  He  might,  and  he  might  not. 
|ou  never  can  tell  about  Noel  Coward.  He 
tight  write  a  play  one  week  and  be  off  to 

ina  or  Alaska  the  week  after. 
I  like  traveling,"  he  told  me,  as  we  sat 
ere.  "I'm  always  too  late  or  too  early.  I 
[rive  in  Japan  when  the  cherry  blossoms  have 
lien.  I  get  to  China  too  early  for  the  next 
volution.  I  reach  Canada  when  the  maple 
javes  have  gone  and  the  snow  hasn't  arrived. 
L-ople  are  always  telling  me  about  something 
haven't  seen.  I  find  it  very  pleasant." 
\  Seeing  that  we  were  on  the  subject  of  travel, 
decided  to  get  to  the  bottom  of  his  Mediter- 
.nean  episode  last  summer.  The  newspapers 
adc  a  great  deal  out  of  that.  They  had  him 
lipwrecked  in  his  yacht  off  Corsica — sunk  in  a 
(orm,  as  a  matter  of  fact.  Later  they  had  him 
.arooned  without  any  clothes  in  some  lonely 
Sherman's  shack. 

:  He  smiled  and  settled  back  more  comfort- 
b\y.     "The  publicity  given  that  little  ind- 
ent," he  declared,  "was  a  lot  of  blah." 
"Blah?" 

"Blah.  Simply  blah!  I  had  just  got  over 
ppendicitis  and  decided  to  take  a  sea  trip  in 
jiy  yacht  for  a  little  blissful  convalescence. 
j'ff  Corsica  we  ran  into  a  storm.  It  was  a 
eautiful  affair,  and  the  boat  did  everything 
ut  capsize.  I  decided,  then  and  there,  that 
hat  was  enough  for  me,  so  I  went  ashore  from 
jie  yacht.  The  next  thing  I  heard  was  that  the 
oat  had  been  shipwrecked.  Practically  all  my 
Rothes  were  lost.  Luckily  my  valuables 
!  eren't  on  board.  But,  Good  Lord,  what  a 
joliday  the  papers  had!  They  made  me  ship- 
recked  in  my  yacht,  simply  floundering 
round  in  the  seas,  you  know,  when  all  the  time 
|  wasn't  near  the  thing!  And  then  they  had 
r.e  completely  marooned  in  a  fisherman's  hut 
-some  musty  hovel  with  barely  a  stitch  of 
lothes  left  clinging  to  me.    As  a  matter  of  fact 


EAGLE  Brains  d  s. 

r.1    _.l      fnaftWV      Caglc      *» 


M  rani  Eag^  Brand 
^CUPS    d  Condensed  M* 
Sweetened  conn 

1/  cup  lemon  juice 
-,.  ,\t.-drind  of  1  lemon  c 
K  teaspoon  lemon  extract 

2  cggS  1  ,t,.d 

2  tablespoons  granulate 

sugar 
Baked  pie  shell  (8-mcW 


)  ttm^  —■  Sweetened 

Blend    together    tagie  d  kmon 

Condensed  M.Ik,  tenon  3«ce  g  ^ 

rind  or  lemon  «™*  "JjS  cooking  it, 
thickens  just  as  though  you* ?^  .^ 
to  a  glorious  creamy  smoothnej;^  ^ 

baked  pie  shell  or  Unbaked , 

(See  FREE  cook  boot.;  :,es until stiff 

and  adding  ^%  *£*.  Chill. 

moderate  oven  (3:>U    r.; 


moderate  »r  v»  ^^  tQQ 


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I  was  resting  comfortably  in  a  first-class  hotel; 
very  ritz,  if  you  want  to  know  the  truth." 

I  looked  at  him.  Evidently  the  London 
tailors  had  been  busy  since  that  yacht  went 
down  in  the  Mediterranean. 

"I  got  back  to  London  for  rehearsals  on 
'Theater  Royal.'  Immediately  I  developed 
colitis,  and  had  to  stop  work  every  few  hours 
and  rest  up.  It  was  really  a  lovely  rest  cure — 
completely  restful!" 

That  twinkle  in  his  eye  again.  The  play 
'Theater  Royal'  was  the  London  version  of  the 
American  production,  "The  Royal  Family," 
which  appeared  on  the  screen  as  "The  Royal 
Family  of  Broadway." 

Noel  Coward  began  to  chat  with  me  about 
the  theater  and  plays.  He  may  never  produce 
his  war  drama,  "Post  Mortem,"  because  he 
thinks  the  time  has  passed  for  it  to  be  a  success. 
He  is  producing  his  own  plays  today,  and  he 
admits  that  he  is  glad  to  be  doing  it.  With 
John  C.  Wilson  as  his  business  manager,  and 
Alfred  Lunt  and  Lynn  Fontanne,  the  American 
stage  stars,  as  acting  partners,  he  is  running  his 
own  show,  writing,  producing,  directing  and 
acting. 

He  is  reticent  about  his  private  life.  It  will 
all  come  out,  he  says,  in  his  autobiography. 
He  started  work  on  that  some  time  ago,  and  is 
still  putting  a  few  words  to  it  whenever  he  gets 


the  chance.  Characteristically  he  said:  "It's 
quite  a  job.  I  mean,  when  you  write  a  play 
you  know  what  the  ending  will  be.  But  you 
can't  know  the  end  to  an  autobiography,  can 
you?" 

Noel  Coward  is  an  amazing  personality.  He 
is  the  most  versatile  man  in  the  theater,  and 
his  energy  is  little  less  than  astounding.  In  his 
"thirties"  he  has  already  a  long  list  of  suc- 
cesses ^behind  him — some  of  them  loved  and 
some  of  them  hated,  but  nearly  all  of  them 
admittedly  brilliant. 

Today  he  will  finish  off  a  play  which,  like  or 
not,  will  be  a  hit  in  New  York  and  London. 
Tomorrow  he  will  sit  down  and  write  one  or  two 
songs,  both  words  and  music.  They  may  go 
into  a  musical  show  he  has  in  mind,  or  they 
may  not.  But  in  a  short  time  the  public  will 
hear  him  sing  them  on  gramophone  records. 
He  has  made  broadcasts  from  London  stations. 
He  produces  his  own  productions  and  directs 
them,  and  nine  times  out  of  ten  he  will  play  a 
part  in  them.  He  is  a  capable  actor,  a  com- 
poser of  better-than-average  tunes,  finished 
showman  and  a  brilliant  dramatist. 

Noel  Coward  will  never  be  "typed"  in  his 
plays.  He  can  be  the  last  word  in  modernism, 
as  he  was  writing  "  Private  Lives",  and  "  Design 
for  Living."  He  can  switch  back  and  write  a 
lovely  musical  romance  like  "Bitter  Sweet." 


He  can  handle  drama  like  he  did  in  "Th 
Vortex"  and  be  passionately  sincere  as  he  wa 
in  "Post  Mortem,"  and  he  can  turn  around  am 
write  a  spectacle  that  had  England  and  th 
world  drying  tear-filled  eyes,  like  his  never-to 
be-forgotten  "Cavalcade." 

He  has  stated  that  he  had  no  time  for  patri 
otic  fervor  when  he  wrote  that  drama  c 
England  and  her  people.  Yet  looking  at  him 
as  I  did  there  in  the  lounge  of  the  Empress  c 
Britain,  one  has  the  feeling  that  Noel  Coward 
for  all  his  modernism  and  sharp  wit,  wa 
moved  by  something  very  deep  when  he  wrot 
"Cavalcade,"  and  that,  probably,  there  wa 
something  there  of  the  spirit,  although  in 
different  vein,  that  prompted  him  to  write  th 
unproduced,  "Post  Mortem." 

"I'm  going  off  somewhere  after  the  openim 
of  my  new  play,"  he  told  me.  "  I  think  it  wil 
be  probably  China,  or  Java.  I  may  come  bad 
with  something  new.     I  don't  know." 

We  had  talked  a  long  time;  longer  than  I  ha< 
realized.  The  ship  was  nosing  up  to  the  docl 
at  Quebec  before  we  knew  it.  He  reached  out 
gave  me  a  hearty  handshake,  said,  "Cheerio!1 
and  was  off  to  see  his  valet  about  his  luggage 

He  moves  quickly  and  decisively.  He  talk 
that  way,  too.  Very  modern,  very  English  am 
very  Noel  Cowardish.  He  wouldn't  disappoin 
you. 


Hollywood,  My  Hollywood 


CONTINUED  FROM  PAGE  27 


THE  MAIN  STEM 

The  world  is  here.  Parading  along  this  busy- 
dizzy  alley  of  wonders  in  mid-afternoon  you'll 
find  a  main  stem  as  full  of  freaks  as  any  circus 
Barnum  ever  owned.  Visiting  firemen  gape  in 
astonishment. 

Dames  young  and  old  prowling  around  in 
bathing  suits  and  beach  pajamas,  and  the 
nearest  beach  is  eleven  miles  away. 

Two  mugs  on  the  corner  opening  an  argu- 
ment, and  six  more  mugs  on  a  truck  moving  in 
with  twelve  "arcs"  to  advertise  the  opening. 

Maybe  the  dignified  guy  in  the  hi-silk  topper, 
the  cutaway  and  the  gold-headed  cane  is  not 
the  banker  Maybe  he  is  a  five-buck  extra 
gent  on  his  way  to  the  Colossal  studio.  Maybe 
if  he  is  on  his  way  to  Colossal  he  is  not  a  five- 
buck  extra  gent.  And  finally,  maybe  he  is 
not  even  working. 

Blondes  of  the  weirdest  flavors.  Platinum, 
lemon,  cocoanut,  ash,  strawberry,  pistaschio, 
mixed,  minced  and  rinsed. 

That  ol'  covered  wagon  with  the  sixteen 
Borax  burros  is  not  toting  Death  Valley 
Scotty  in  from  the  desert  mines.  It's  adver- 
tising the  opening  of  a  new  movie  palace,  a 
drive-in  food  market,  a  political  rally,  a  night 
club,  or,  maybe  Aimee  Semple  McPherson's 
Temple. 

Here  comes  a  bare-footed  old  dude  with  a 
white  beard  and  mane.  This  stand-in  for  Kris 
Kringle  is  Peter  the  Hermit.  He's  a  pretty 
wise  old  guy  at  that.  He  lives  in  the  hills  and 
he  is  smart  enough  to  pick  for  his  neighbors 
the  birds  and  the  bees,  the  bugs  and  the  trees. 
Peter  is  sartorially  perfect.  He  carries  a 
eucalyptus  staff.  (Maybe  it's  hickory  or  oak. 
but  somehow  it  seems  like  it  ought  to  be 
eucalyptus.)  He  wears  white  duck  slacks  a 
bit  soiled,  and  an  open-neck  shirt  a  bit  more 
soiled,  a  garb  which  has  been  carefully  copied 
by  hundreds  of  Hollywood's  best  undressed 


Autograph-seekers,  mostly  professionals, 
swarming  around  movie  stars  as  they  duck  in 
and  out  of  such  favorite  eat-and-be-seen-eries 
as  the  Brown  Derby.  Sardi's  or  Al  Levy's 
Tavern.  Suspicious  mugs  like  Jack  Oakie 
peeking  into  the  books  to  make  sure  they 
aren't  signing  phony  checks  or  what  have  you? 
Most  of  the  autograph  hounds  don't  know,  nor 
care,  who  the  movie  star  is,  and  most  of  them 
can't  read  anyway. 

It's  Dollar  Day.  You  see  people  on  the 
boulevard  whom  you  haven't  seen  since  last 
Dollar  Day.  They  swarm  in  from  the  hills 
and  dales  clutching  their  dollars  in  trembling 
fists.  They  buy  articles  that  go  back  to  the 
regular  price  of  six-bits  the  next  morning.  But, 
they're  satisfied.    So  are  we.    We  love  suckers. 

Curfew  doesn't  ring  at  nine  o'clock  any  more. 
Too  many,  one,  two,  three,  four  and  five 
o'clock  chumps  and  cuties  call  Hollywood 
home  now.  At  night,  the  main  stem  is  a 
dazzling  riot  of  colored  Neon  lights,  loud 
noises  and  louder  merry-makers  clad  in  any- 
thing from  sweat  shirts  to  tuxedos,  pajamas  to 
evening  gowns. 

What  a  main  stem! 

FRIDAY'S  FIGHTS 

Every  fight  fan  in  the  country  has  heard  of 
the  Hollywood  American  Legion  stadium 
where  the  picture  stars  go  every  Friday  night. 
The  galleries  are  packed  to  the  rafters  with 
gore-loving  Mexicans,  Filipinos,  Hawaiians, 
Chinese  and  Japanese.  The  reserved  seats  are 
jammed  to  the  ringside  with  gore-loving 
movie  actors  and  actresses,  producers,  direc- 
tors, writers,  cameramen,  agents  and  occa- 
sionally a  legalized  voter. 

Lupe  Velez  and  Johnny  Weissmuller  lead 
one  cheering  section  and  Mae  West  another. 
On  a  bum  night,  Lupe  and  Johnny  can  stage  a 
better  scrap  than  the  pork-and-beaners. 


The  joint  has  a  swell  matchmaker,  om 
Charlie  McDonald,  but  the  boxing  commissioi 
successfully  gums  up  the  night's  fun  by  ap 
pointing  mind-readers  and  soothsayers  a:, 
referees.  Invariably  these  "wizards"  forget  t< 
bring  their  crystals.  The  only  way  they  cat 
make  a  decision  is  to  think  of  a  numbc 
between  "3"  and  raise  the  loser's  hand.  T»ht 
assemblage  in  the  melting  pot  roar  like  hell 
and  then  fill  it  up  again  the  following  Frida) 
night. 

But,  the  night  of  nights  was  a  recent  affair 
when  01'  Doc  Kearns,  assisted  by  none  othei 
than  Dick  Barthelmess  (we  still  don't  know 
why),  led  the  Italian  Adonis,  Enzo  Fiermonte 
to  an  unexpected  slaughter. 

The  day  of  the  "fight  of  the  century"  al 
the  barbers  and  manicurists  on  the  boulevan 
were  laying  eight  and  ten  to  one  that  Errz' 
would  stop  his  opponent,  an  old  shock-absorbed 
named  Les  Kennedy.  It  appears  that  thu 
smart-alecks  thought  the  old  "fix"  was  oi 
and  that  the  wop  warrior  was  a  sure  thing  d 
knock  your  old  Les  bow-legged.  Unfortunate 
ly,  someone  forgot  to  take  Les  into  thei:, 
confidence  He  rapped  Mrs.  Astor's  pel 
Adonis  right  on  the  button  and  took  all  the 
"fear"  out  of  Fiermonte. 

The  Hollywood  boys  and  girls  are  stil 
trying  to  comb  this  one  out  of  their  wigs. 

THE  BOWL 

To  go  from  the  ridiculous  to  the  sublime,  a- 
it  were,  Hollywood  offers  one  of  the  sever . 
wonders  of  the  world  in  the  Bowl.  If  01 
Dame  Nature  had  her  way,  Hollywood  wouk 
still  be  the  same  beautiful  little  model  01, 
simplicity  it  was  twenty  years  ago  when  w< 
first  watched  it  emerging  from  its  cocoon  oi 
orange  groves. 

Here  and  there  quaint  little  rlatroofed,  om 
and    two   story   frame   and    stucco   building 


100 


Photoplay  Magazine  for  February,  1935 

cited  the  main  stem.  Mostly,  however,  the 
I  ilevards  and  narrow  residential  side  streets 
vre  lovely  vistas  of  doll-like  California  bunga- 
les  set  amid  vari-colored  flowers  and  shrubs 


I07 


spacious  lawns.     Towering  eucalyptus  and 
awling  peppers  vied  with  majestic  palms 
1  cool  evergreens  in  shading  the  streets  and 
lies.     With   sudden   wealth  from   the  fast- 
awing  movie  studios,   unprecedented  pros- 
I  ity  and  Chamber  of  Commerce  ballyhoo, 
1'  romantic  village  we  once  knew  has  become 
cross     between     Mecca     and     Broadway. 
Burists    chase    movie    actors    and    escrow 
Lilians  chase  tourists. 

I  you  really  care  to  see  the  Hollywood  the 
<>l  Dame  Nature  planned,  go  to  the  Bowl 
lilden  away  from  the  Hullabaloo,  this  mar- 
\iously  beautiful  and  natural  amphitheatre 
ii.lic  mountains  is  a  sylvan  retreat  which  will 
Cirm  even  the  most  blase  and  sophisticated 
!ool  California  nights  under  the  stars, 
liening  to  Jose  Iturbi  conduct  a  symphony, 
t Grace  Moore  and  Lawrence  Tibbett  singing 
aas;  or,  to  hundreds  of  voices  chanting  the 
iilpiring  hymns  of  the  Easter  services  at 
sjirise;  or,  watching  the  gorgeous  spectacle 
oMax  Reinhardt's  interpretation  of  Shakes- 
pire's  "Midsummer  Night's  Dream"  are 
r  1  and  rare  experiences 

NIGHT  LIFE 

wenty  years  ago  the  lads  and  lassies  who 
cived  night  life  could  find  it  only  in  the  far- 
ing suburbs  of  Los  Angeles.  Hollywood  was 
S  1  a  nine  o'clock  town.  It  is  true  they  could 
dice  to  Paul  Whiteman's  swell  music  at  the 
Vxandria  hotel,  now  quite  extinct.  They 
c  Id  dine  well  in  that  grand  old  hofbrau, 
t  Hoffman,  run  by  the  genial  Louis  Arzner, 
1.  icr  of  the  girl  picture  director,  Dorothy. 
Ipse  who  liked  fish  went  to  the  Goodfellow's 
Cbtto,  still  one  of  the  best  in  this  country,  or, 
J[i's  Chowder  House.  The  sports  patronized 
Id  Harlow's  or  McKee's.  For  all-around 
gfid  food  and  cabaret  entertainment  the  gang 
inhered  at  Al  Levy's,  where  Bill  Frawley  and 
1.  beautiful  titian-haired  wife  Louise  kept  the 
vvi  frcm  the  door  by  yodeling  and  hoofing 
nfhtly  for  the  cash  customers.  Kindly  little 
<>  Al  Levy  has  catered  to  southern  California 
atetites  for  more  than  thirty  years,  moving 
wjh  the  town.  Today  he  is  still  one  of  Holly- 
nbd's  favorite  hosts. 

kit,  for  the  jolly  old  night  life  the  boys  and 
g  s  had  to  take  their  fun  and  frolic  at  Baron 
Lig's  Vernon,  birthplace  of  many  celebrated 
eertainers.  Among  them  Paul  Whiteman. 
Ake  and  Abe  Lyman,  Blondy  Clark,  Chris 
S  oenberg,  Pee-wee  Byers  and  the  late 
J'kie  Taylor.  Or,  we  went  to  the  Baron's 
''■era  in  the  unromantic  town  of  Watts  to 
li  1  Harry  Richman.  On  warm  nights  we 
dve  to  the  beaches.  What  fond  recollections 
o,  he  unique  Ship  at  Venice,  the  Jewel  City 
jfeeal  Beach,  The  Sunset  Inn  at  Santa  Mon- 
i(  and  Nat  Goodwin's  at  Ocean  Park. 
Airing  spots  in  those  good  old  days — but  few. 

'oday,  Hollywood  night  life  is  smart, 
^ippy  and  expensive.  In  the  good  old  days 
0  he  "kittys"  it  was  an  intimate,  one-happy- 
H  ily  idea.  The  entertainers  were  pals  of 
tl  customers  and  vice- versa.  Wally  Reid 
wild  play  Pee-wee  Byers'  saxophone,  Fatty 
A  uckle  loved  to  work  out  on  the  snare  drums 
a  Norman  Kerry  coveted  Whiteman's  baton. 

martest  of  the  Hollywood  spots  today  is 
tl  Trocadero,  a  restaurant  with  the  Conti- 
nual flavor.  Old  Boy!  It  is  operated  by  an 
ajite  showman  one  Billy  Wilkerson,  who  also 
n  3  the  very,  very  exclusive  Vendome  where 
tl  "better  class"  movie  stars  lunch  and  dine. 


THREE    TICKETS 

.  .  .TO  "REEL"  ENJOYMINT 


Every  show's  a  HIT  if  you  take  along  Life  Savers. 
They're  your  ticket  to  reel  en]oymint.  Crisp,  flavory 
rings  of  purest  candy  ...  in  delicious  mint  or  fruit  flavors! 


IF      IT      HASN'T 


HOLE 


IT      ISN'T 


LIFE       SAVER 


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Spare  Time  .... 

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tions for  a  large  group  of  popular  magazines. 

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W'ilkerson  is  really  an  editor,  having  won  his 
chief  fame  in  Hollywood  as  the  publisher  of 
the  Reporter,  which  shares  .with  Variety  the 
distinction  of  being  the  alpha,  beta  and  omega 
of  the  picture  game. 

Next  in  favor  may  be  found  the  Colony  and 
Clover  clubs,  the  El  Rey,  the  Mont  Aire  and 
Sebastian's  Cotton  Club  for  the  Harlem- 
minded.  Baron  Long  has  given  up  Agua  Cali- 
ente  in  Mexico  and  his  racing  stables  to  show 
the  hotel  folks  how  to  make  the  Biltmore  hotel 
pay  dividends.  And,  the  Ambassador's  famed 
Cocoanut  Grove,  featuring  orchestra  leaders, 
continues  to  draw  the  dancing  mobs. 

Yes,  sir,  Hollywood's  night  life  is  hot.  A 
thousand-and-one  night  clubs  spring  up  over 
night.  For  all  kinds  of  people.  They  have 
even  turned  the  old  blacksmith  shop  under  the 
spreading  live  oak  tree,  where  we  used  to  pitch 
horseshoes,  into  a  hit-and-miss  joint. 

Actors  love  to  go  for  a  piece  of  these  quick- 
folding  nighties.    But,  we  won't  go  into  that. 

One  of  the  few  Eldorados  is  backed  by  our 
old  curly-haired  pal,  Leon  Errol.  It  rejoices  in 
the  quaint  but  alluring  name,  the  Black  Pussy. 

BROWN  DERBY 

How  the  tourists  love  to  watch  the  stars 
eat!  Here  is  a  typical  scene  at  noon  in  the 
Brown  Derby.  Two  visiting  firemen  and  a 
lassie  from  Omaha  are  sitting  with  a  Holly- 
wood guide  in  a  booth. 

First  Fireman — Who  is  that  blonde  in  the 

booth  across  from  us? 
Guide — That's  Carole  Lombard. 
Second  Fireman — Carole  Lombard.     Holy 

Moses!    Is  that  what  she  looks  like  off  the 

screen?    Why,  you're  better  looking  than 

she  is,  Elsie. 
The  Lassie — Oh!  now  Roy,  I  don't  think  so. 

But,  who  is  the  man  with  her. 
Guide — That's  George  Raft. 
The  Lassie— The  FIGHTER? 
Guide — No,  the  picture  star. 
First   Fireman — I   thought  Raft  had  curly 

hair  like  Leon  Errol. 
Second    Fireman — So    that's   Raft,   eh?      I 

know  a  kid  in  the  Owl  drug  store  fountain 

back  home  who  looks  like  him. 
The  Lassie — Well,  neither  one  of  them  look 

so  awful  fancy  to  me. 
(In  the  next  booth  Bill  Frawley  and  I  are 
taking  a  burn.) 

Scoop — Get  a  load  of  those  silly  nit-wits 

from  the  sticks  in  the  next  booth.    They 

probably  came  out  here  on  a  hay-ride. 


Bill — Yeah— and  they'll  probably  end  up  in 
"The  Life  of  Ziegfeld." 

YESTERDAYS 

Like  two  Rip  Van  Winkles,  minus  the  long 
white  beards,  Bill  Frawley  and  I  sit  in  a  sky- 
scraper office  looking  out  of  the  windows 
down  on  the  steady  flow  of  busy  humanity 
beneath  us  on  the  boulevard.  They  swarm 
like  bees  from,  a  hive,  in  all  directions.  When 
we  close  our  eyes,  sitting  there,  it  is  even  a  bit 
bewildering  to  a  couple  of  sophisticated  guys 
of  the  world.  Twenty  years  ago  where  this 
skyscraper  now  stands,  we  two  wanderers  lay 
under  a  palm  tree,  indolently  wiggling  our  tired 
toes  in  the  soft  grass  of  a  Hollywood  boarding- 
house  lawn.  We  watched  the  parade  go  by  in 
those  yesterdays  too,  but  it  was  all  so  different. 
It  was  easy  come,  easy  go.    Old  California! 

We  can  hear  the  faint  tinkle  of  a  guitar  as 
we  lay  drowsing  in  the  sun.  That  would  be 
Wally  Reid  strumming  a  melody  to  some  pals, 
in  his  bungalow  just  around  the  corner. 

Four  pretty  little  girls  go  tripping  by  on 
their  way  to  luncheon  at  the  rose-covered 
bungalow  tea  room  across  the  boulevard.  The 
one  with  the  golden  curls  is  that  little  Biograph 
girl.  They  say  her  name  is  Mary  Pickford, 
and  the  blonde  with  her  is  Blanche  Sweet. 
Those  two  quaint  ones  with  them  are  sisters, 
Lillian  and  Dorothy  Gish.  They  just  arrived 
from  Massillon,  Ohio.  Ah,  see  that  tall  man 
with  the  hawk  nose  and  the  big  straw  hat 
greeting  them.  That's  the  great  D.  W. 
Griffith,  you  know. 

What's  that?  Listen  to  the  yells.  Look, 
back  of  us.  Here  they  come  around  the 
corner.  Boy,  look  at  those  babies  go.  That 
handsome  guy  in  front  on  the  white  horse  is 
J.  Warren  Kerrigan.  Who's  the  girl  in  his 
arms?  Oh,  that's  the  new  beauty  discovered 
from  ol'  Alabam'.  That's  Lois  Wilson.  Look 
at  those  Injuns  ride.  Whoops  and  yells! 
Here  come  the  cowboys  to  the  rescue.  Boy, 
this  is  the  life! 

Mi  gawd!  Look  at  the  firewagon  coming 
down  the  boulevard.  No,  it  isn't  a  firewagon. 
It's  Tom  Mix  in  his  new  racing  car.  Get  a 
double  O  of  that  ten-gallon  sombrero.  And 
those  colors! 

The  parade  passes  by  in  leisurely  fashion, 
mostly. 

See  those  guys  who  have  stopped  to  talk. 
They're  going  places.  In  that  one  group  are 
Cecil  DeMille,  (Yeah,  that's  the  one  in  the 
puttees  and  riding  britches).    Jesse  Lasky  and 


Dustin  Farnum.  Swell  actor,  Dusty.  Did 
you  see  him  in  "The  Squaw  Man"  ?  They 
just  made  it  in  that  big  barn  they  call  a  studio, 
down  the  street.  That's  Bill  Farnum  in  the 
other  group,  with  Tom  Santschi.  What  a 
great  battle  they  put  up  in  "The  Spoilers." 
Swell  actors,  too.  The  guy  with  them  is  a 
regular.  That's  Frank  Lloyd.  He  is  going  to 
direct  a  big  picture,  "A  Tale  of  Two  Cities," 
with  Bill  playing  Sidney  Carton.  Six  reels, 
they  say.    What  a  chance  they're  taking! 

There  come  the  real  beauties  of  Hollywood. 
The  brunette  is  Alice  Joyce  and  the  blonde 
looker  is  Anna  Q.  Nilsson.  They  both  used  to 
be  art  models  in  New  York,  you  know.  They 
stop  to  chat  with  Jack  Mulhall.  He's  a  great 
lad.  And,  there  come  Tom  Ince  and  Charlie 
Ray.  Yeah,  that's  Charlie,  the  tall  gawky  kid 
in  the  rube  makeup. 

Take  a  tumble  to  what  is  driving  up  to  the 
tea  room.  That's  Mack  Sennett,  and  the  cute 
little  trick  with  him  is  Mabel  Normand.  The 
big  roly-poly  guy  is  Fatty  Arbuckle.  But,  who 
is  that  funny  little  mutt  with  them.  See,  the 
guy  in  the  baggy  pants,  with  the  cane  and  the 
derby  hat.  And,  the  trick  mustache.  His 
name  is  Chaplin,  Charlie.  He's  an  English 
comic.  Yeah,  Sennett  seems  to  think  he  is 
funnier  than  Ford  Sterling.  But,  we  don't 
know. 

What  do  you  say  we  go  lie  down  in  the  ham- 
mocks and  get  a  snooze?  Wait  a  minute,  here 
comes  a  regular  guy.  That  tall,  dignified 
looking  gent.  He's  the  new  sensation.  That's 
Bill  Hart.  They're  calling  him  the  "two-gun 
man."  You  want  to  see  him  in  "Hell's 
Hinges"  and  "The  Passing  of  Two-Gun 
Hicks."    He's  swell! 


Twenty  years!  We  open  our  eyes.  Nuts, 
we're  still  up  in  this  silly  skyscraper  looking 
down  at  a  flock  of  ants.  Let's  get  rolling. 
Where  are  we  going?  We're  going  to  drive  out 
thirty  miles  from  Hollywood,  boy,  and  we'll 
sit  ourselves  down  in  peace  and  comfort  under 
a  big  oak  tree  on  top  of  a  high  mountain 
We'll  dream  away  the  hours  as  we  look  down 
on  the  roses,  the  palms,  the  peppers,  the  syca- 
mores and  the  oaks  guarding  the  domain 
beneath  us.  Our  host  will  be  a  tall  quiet  man 
As  we  lift  our  highballs  together  in  toasts  to 
God's  country,  Bill  Hart  will  look  at  us  with 
a  knowing  grin,  and  say:  "Drink  hearty,  boys. 
Ain't  it  grand!" 

|  Next  Month:  Another  Installment 
of    "Hollywood,    My    Hollywood."! 


They  Didn't  Mean  to  Be  Funny 


continued  from  page  55 


around — sort  of  without  me,  if  you  know  what 
I  mean.  And  that  'Oh  dear  .  .  .'  The  first 
time  I  said  that  was  in  my  first  talkie,  'The 
Dummy,'  and  I've  been  saying  it  ever  since. 
Sometimes  I  swear  I'll  never  say  it  again.  I'm 
so  tired  of  me  on  the  screen.  I  started  out  to 
be  a  tragedienne.  But  my  hands  and  voice 
and  my  face  were  too  much  to  work  against." 

Charles  Butterworth,  he  of  the  dead  pan 
and  serious  mien  was  a  very  grave  steady 
young  man,  laboring  continually  under  the 
delusion  that  life  is  real  and  life  is  earnest,  and 
with  no  thought  of  a  stage  career.  He  aimed 
at  politics. 

With  his  features  frozen  into  a  doleful  come- 
what-may  expression,  he  related  the  following 
ridiculous  (but  true)  story: 


"It  was  all  a  sad  mistake,  my  becoming  a 
comedian.  To  my  dying  day  I  will  never  for- 
get the  pain  and  shame  of  it.  It  happened 
about  nine  o'clock  one  evening  at  Rockford, 
Illinois — a  political  rally.  No  one  will  ever 
know  the  sleepless  hours  I  had  spent  in  pre- 
paring my  speech,  with  the  burden  of  America's 
political  future  upon  my  shoulders.  When  I 
stepped  upon  the  stage,  I  was  dazzled  for  a 
moment  when  I  saw  so  many  strange  faces 
down  front. 

"No  more  than  a  hundred  words  had  passed 
my  lips  before  I  began  to  detect  a  faint  sound 
of  snickering  in  the  audience,"  he  sighed. 
"Then  I  saw  that  it  was  my  oration. 

"Well,  that  speech,  in  the  end,  got  the  place 
in  an  uproar — and  I  walked  out.  leaving  most 


of  the  vegetables  right  there  on  the  stage." 

Acting  on  the  advice  of  friends,  who  had 
almost  died  laughing  at  his  grave  attempts  to  ; 
tell  people  how  to  vote,  Butterworth  went  on  the 
stage    and    became    one    of    the    greatest   of 
monologists. 

Louise  Fazenda,  always  planning  to  be  a 
comedienne,  never  dreamed,  however,  that  her 
comedy  trade-mark  would  be  that  devastat- 
ingly  contagious  giggle. 

"  I  knew  when  the  talkies  came  in  that  I 
would  have  to  do  something  to  hold  my  own,  I 
or  else  open  a  restaurant  somewhere,"  she  told 
me.  "Anybody  can  talk.  And  so  I  exper- 
imented with  several  sound  effects  Thusly 
the  giggle  came.  Not  everybody  can  giggle  as 
sillily  as  I  can." 


108 


he  story   back   of   Stuart    Erwin's 
urate  dumb  comedy  is  interesting. 
iter    graduating    from    Kgan's    dramatic- 
al in  Los  Angeles,  he  stage-managed  about 
and  then  took  the  same  job  with  George 
wood,  who  was  producing  "Women  Go 
)ii''orever,"  at  the  Music  Box  in  Hollywood. 

I  >le  to  cast  a  small  two-side  part,  that  of  an 
narrassed  young  man,  Erwin  took  it  him- 

II  realized  my  part  was  so  small  that  no- 

ivdd  ever  remember  me,"  he  recounted. 

11  Idenly  it  struck  me  that  if  I  read  the  two 

ii  -  very  slowly,  taking  a  lot  of  time  out  for 

e  ation  and  general  dumbness,  I  would  stay 

mine  stage  longer  and  the  audience  would 

.  notice  me.    And  it  did." 

hich  is  a  good  example  of  how  desperation 

'oiled  an  actor  into  acquiring  a  comic  trade- 

Ina  May  Oliver's  famous  sniff  and  nose 
Jkle  are  her  trade-marks.     She  gave  that 
r   historic  sniff  in  "Half  Shot  at  Sunrise." 
le  picture  she  had  to  do  something  to  show 
e  disdain  at  the  clowning  of  Wheeler  and 
\  ]sey.    So,  she  did  the  most  natural  thing 
n  he  world.     She  sniffed.     And  how!     All 
mlspicious,  she  went  to  the  preview  of  the 
lire,  and  was  flabbergasted  at  the  howls  of 
uhter  her  sniff  caused.     So,  she  continued 
.  nd  later  developed  the  nose  wrinkle  that 
nfened  "Cimarron."  These  accidental  trade- 
is  are  her  only  concessions  to  slapstick, 
rjh  she  hates. 
leaking  of  Wheeler  and  Woolsey — imagine 
ymbarrassment  when  I  asked  Woolsey  how 
appened  to  think  of  that  funny,  mincing 
\  jger  of  his. 

;)h,  I  naturally  walk  that  way,"  he  said, 
n  aligned  at  my  discomfiture.  And  he  does. 
tier  watched  him  walk  down  to  the  com- 
likry, 

US  everlasting  and  active  cigar  accidentally 

lecame  another  of  his  comedy  trade-marks 

use  Wheeler  had  a  line  of  dialogue  he 

a  ed  to  use  in  a  play.     The  gag  was  for 

Alsey  to   blow   smoke   in  Wheeler's   face, 

m!then  have  Wheeler  inhale  it,  blow  it  out, 

in  say,  "Thanks.    That's  the  first  thing  you 

e  me."    It  went  over  big,  and  since 

.  Woolsey  has  kept  his  cigar. 

heeler   is   distinguished   from    other   co- 

t  ans  by  his  little  boy  manner  and  hesitant. 

■  o  hful  manner  of  speaking.     Woolsey  sug- 

-e^'d  it  to  him,  so  they  could  have  one  person 

i  e  team  who  could  carry  the  romantic  in- 

rt  and  thereby  eliminate  the  necessity  of 

i  ng  the   conventional    romantic    leads. 

'\  leler  was,  at  one  time,  what  he  calls  "a 

a  y-pants"  comedian. 

-  for  Stan  Laurel  and  Oliver  Hardy — they 
ait  bitterly  against  being  teamed  as  co- 
•t  ans.  They  lost.  Hardy's  comic  trade-mark 

■  >ping  his  tie  with  that  self-conscious,  em- 

■  ■  issed  smirk — was  accidentally  discovered 

•   screen  laugh,  although  he  does  it  quite 

EtJ  and  entirely  naturally  in  real  life.     In 

■'  if  their  first  pictures,  Hardy  spread  his 

k  over  a  mud  puddle  for  the  leading  lady 

|  alk  over,  and  then  stood  watching  her 

.  twiddling  his  tie  quite  unconsciously  as  i 

i    1  so.    The  tremendous  laugh  at  the  pre- 

wis    totally    unexpected,    and    the    tie 

He  was  adopted  permanently. 

urel's  elegant  gesture  of  throwing  his  el- 

1  up  and  scratching  the  top  of  his  head  is 

-  |  natural  thing  for  him  to  do.  He  did  it 
»i  before  it  was  found  to  be  funny  for  screen 

i  D  >ses.   and   the   condition   of   his   hair  is 
It  sticks  up  in  all  directions  all  the 
R  and  nothing  can  be  done  about  it. 


Photoplay 

slow. 


Magazine  i"or  February,  1935 


I  09 

The  Hawaiian 

"Here's  I  loir  "  is 
right  at  home  in 
this  "Girl  of  the 
Islands"  set  on  I 
the  RKO-Radio 
Pictures  lot. 
Regis  Tootney 
has  just  mixed 
a  long  toll  one 
for  Steffi  Duna. 


The  "Here's  How"  for  a  "Girl  of  the  Islands" 

When  you  begin  to  wilt,  a  Hawaiian  "Here's  How"  will  revive  you. 
First  and  most  important  step:  one-third  DOLE  Hawaiian  Pineapple 
Juice.  After  that,  choose  from  the  infinite  variety  of  other  refreshing 
fruits  and  fruit  juices,  according  to  your  taste.  Then  add  cracked  ice 
and  as  much  seltzer  as  you  like  . .  .The  perfect  "Here's  How"  is  made  with 
pure,  unsweetened  DOLE  Pineapple  Juice.    Order  a  dozen  cans  today. 


Now  EIGHT 

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COLOR 
PORTRAITS 

of  Popular 

Film  Stars 

for  only  15c 

Not  ordinary  pictures,  but  attractive  reproductions  made  from 
the  original  color  pastelles  by  Earl  Christy. 

We  have  selected  eight  poses  like  those  illustrated  and  have 
reproduced  them  in  color  on  good  quality  stock.  Sheet  size 
of  each  picture  5%"x4%".  They  will  be  supplied  unmounted 
suitable  for  framing  or  mounting  in  your  collection  book. 

This  choice  selection  includes  the  following  stars 

GRETA  GARBO       NANCY  CARROLL      JOAN  BENNETT 
JANET  GAYNOR     NORMA  SHEARER        HELEN  HAYES 
RUBY  KEELER  CLAUDETTE  COLBERT 

MAIL  THIS  COUPON  NOW— TO 

^—^— ^~~—~ ^~ ~~~""^— ~ ^^^^^~        Name 

WALT  PRODUCTS. 

1 55  E.  Walton  Place.  Chicago,  III.  Address  

Gentlemen : 

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send  me  the  eight  portraits  of  movie  stars 

printed  in   color,  as  per  your  advertise-       state  PH-2-35 

ment. 


Casts  of  Current  Photoplays 


"BABBITT" — First  National. — From  the  novel 
by  Sinclair  Lewis.  Adapted  by  Tom  Reed  and  Niven 
Busch.  Directed  by  William  Keighley.  The  cast: 
Geo.  F.  Babbitt,  Guy  Kibbee;  Myra  Babbitt,  Aline 
MacMahon;  Tanis  Judique,  Claire  Dodd;  Berona 
fiabbitl,  Maxine  Doyle;  Ted  Babbitt,  Glen  Boles;  Paul 
Reisling,  Minor  Watson;  Zilla  Reisling,  Minna  Gom- 
bell;  Charlie  McKelvey,  Alan  Hale;  Judge  Thompson, 
Berton  Churchill;  Martin  Clinch,  Harry  Tyler; 
Commr.  Gurnee,  Russell  Hicks;  Zeke,  Arthur  Ayles- 
worth;  Eunice  Littlefield,  Nan  Gray;  Miss  McGoun, 
Mary  Treen. 

"BABES  IN  TOYLAND"— Hal  Roach-M-G- 
M. — Based  on  the  operetta,  music  by  Victor  Herbert, 
book  by  Glen  MacDonough.  Screen  play  by  Frank 
Butler  and  Nick  Grinde.  Directed  by  Gus  Meins  and 
Charles  Rogers.  The  cast:  Stanley  Dum,  Stan  Laurel; 
Oliver  Dee,  Oliver  Hardy;  Bo-Peep,  Charlotte  Henry; 
Tom-Tom,  Felix  Knight;  Barnaby,  Henry  Kleinbach; 
Widow  Peep,  Florence  Roberts;  Santa  Claus,  Ferdi- 
nand Munier;  Toymaker,  William  Burress;  Mother 
Goose,  Virginia  Karns. 

"BATTLE,  THE"— Leon  Garganoff  Prod  — 
From  the  novel  by  Claude  Farrere.  Directed  by 
Nicholas  Farkas.  The  cast:  Marquis  Yorisaka, 
Charles  Boyer;  Fergan,  John  Loder,  Marquise  Yori- 
saka, Merle  Oberon;  Betty  Hockley,  Betty  Stockfield; 
Hirala,  V.  Inkijinoff;  Felze,  Miles  Mander;  The 
Admiral,  Henri  Fabert. 

"BEHOLD  MY  WIFE"— Paramount.— From 
the  story  by  Sir  Gilbert  Parker.  Adapted  by  William 
R.  Lipman  and  Oliver  LaFarge.  Directed  by  Mitchell 
Leisen.  The  cast:  Tonita  Stormcloud,  Sylvia  Sidney; 
Michael  Carter,  Gene  Raymond;  Diana  Carler-Curson, 
Juliette  Compton;  Mrs.  Carter,  Laura  Hope  Crews; 
Mr.  Carter,  H.  B.  Warner;  Bob  Prentice,  Monroe 
Owsley;  Jim  Curson,  Kenneth  Thomson;  Mary 
White,  Ann  Sheridan;  Mrs.  Sykes,  Charlotte  Gran- 
ville; Pete,  Dean  Jagger;  Juan  Stormcloud,  Charles 
B.  Middleton;  Benson,  Eric  Blore;  News  Photogra- 
pher, Fuzzy  Knight;  1st  Reporter,  Jack  Mulhall;  2nd 
Reporter,  Neal  Burns;  3rd  Reporter,  Pat  O'Malley; 
Miss  Copperwailhe,  Gwenllian  Gill;  Indian  Boy, 
Billy  Lee. 

"BRIGHT  EYES  "^Fox.— From  the  story  by 
David  Butler  and  Edwin  Burke.  Screen  play  by 
William  Conselman.  Directed  by  David  Butler.  The 
cast:  Shirley  Blake,  Shirley  Temple;  Loop  Merrill, 
James  Dunn;  Mrs.  Higgins,  Jane  Darwell;  Adele 
Martin,  Judith  Allen;  Mary  Blake,  Lois  Wilson; 
Uncle  Ned  Smith,  Charles  Sellon;  Thomas,  Walter 
Johnson;  Joy  Smylke,  Jane  Withers;  J.  Wellington 
Smythe,  Theodore  Von  Eltz;  Anita  Smythe,  Dorothy 
Christy;  Higgins,  Brandon  Hurst;  Judge  Thompson, 
George  Irving. 

"CURTAIN  FALLS,  THE"— Chesterfield.— 
From  the  story  by  Karl  Brown.  Directed  by  Charles 
Lamond.  The  cast:  Sara  Crablree,  Henrietta  Cros- 
man;  Dot  Scoresby,  Dorothy  Lee;  John  Scoresby, 
Holmes  Herbert;  Katherine  Scoresby,  Natalie  Moor- 
head;  Allan  Scoresby,  John  Darrow;  Barry  Graham, 
William  Bakewell;  Martin  Devrridge,  Jameson 
Thomas;  Helen  Deveridge,  Dorothy  Revier;  Taggarl, 
Eddie  Kane;  Mrs.  McGillicuady,  Aggie  Herring; 
Hotel  Manager,  Tom  Ricketts. 

"  EVENSONG" — Gaumont-British. — Based  on 
the  play  by  Edward  Knoblock  and  Beverly  Nichols. 
Adapted  by  Dorothy  Farnum.  Directed  by  Victor 
Saville.  The  cast:  Irela,  Evelyn  Laye;  Kober,  Fritz 
Kortner;  Madame  Valmonl,  Alice  Delysia;  Archduke 
Theodore,  Carl  Esmond;  George  Murray,  Emlyn 
Williams;  Tremlowe,  Muriel  Aked;  Sovino,  Dennis  Val 
Norton;  Pa  O'Neill,  Arthur  Sinclair;  Bob  O'Neill. 
Patrick  O'Moore;  Solo  Tenor,  Browning  Mummery; 
Baba,  Conchita  Supervia. 

"FATHER  BROWN,  DETECTIVE"  —  Para- 
mount.— From  the  story  by  Gilbert  K.  Chesterton 
Screen  play  by  Henry  Myers  and  C.  Gardner  Sullivan 
Directed  by  Edward  Sedgwick.  The  cast:  Father 
Brown,  Walter  Connolly;  Flambeau,  Paul  Lukas; 
Evelyn  Fischer,  Gertrude  Michael;  Inspector  Valen- 
tine, Robert  Loraine;  Sir  Leopold  Fischer,  Halliwell 
Hobbes;  Mrs.  Boggs,  Una  O'Connor;  Peter,  Peter 
1  bibbs;  Jinny,  Bunny  Beatty;  Policeman,  Robert 
Adair;  Sergeant  Dawes,  E.  E.  Clive;  Clerk  in  Flower 
Shop,  Gwenllian  Gill;  Don,  Eldred  Tidbury. 

"FLIRTING  WITH  DANGER"— Monogram  — 
From  the  story  by  George  Bertholon.  Screenplay  by 
Albert  E.  DeMond.  Directed  by  Van  Moore.  The 
cast:  Bob,  Robert  Armstrong;  Lucky,  William  Cag 
ney;  Jimmie,  Edgar  Kennedy;  Mary,  Marion  Burns; 
Rosita,  Maria  Alba;  Von  Kruger,  William  Von 
Brincken;  Capl.  Garcia,  Gino  Carrado;  Dawson, 
Ernest  Hilliard;  Fentou,  Guy  Usher. 

"FUGITIVE  ROAD"— Invincible.— From  the 
story  by  Charles  S.  Belden.  Continuity  by  Charles 
S.  Belden  and  Robert  Ellis.  Directed  by  Frank 
Strayer.  The  cast:  Haupmann  Oswald  von  Graunsee, 
Eric  Von  Stroheim;  Sonia  Vollanoff,  Wera  Engels; 
Riker,  Leslie  Fenton;  Papa  Yinocchio,  George  Hum- 
bert; Mama  Vinocchio,  Anna  de  Metrio;  Lieut.  Berne 
William  von  Brincken;  2nd  Lieutenant,  Hans  Ferberg; 
A  civilian,  Michael  Visaroff;  Doctor,  Ferdinand  Schu- 
mann-Heink;  Johann,  Hank  Mann;  Burgermaster, 
Harry  Holman;  Herbert  Smith,  Harry  Allen. 

"HOME  ON  THE  RANGE"— Paramount  — 
From  the  story  by  Zane  Grey.    Screen  play  by  Ethel 

110 


Doherty  and  Grant  Garrett.  Directed  by  Arthur 
Jacobson.  The  cast:  Jack,  Jackie  Coogan;  Tom  Hat- 
field, Randolph  Scott;  Georgie,  Evelyn  Brent;  Thur- 
man,  Dean  Jagger;  Beady,  Addison  Richards; 
"Cracker,"  Fuzzy  Knight;  Girl  Entertainer,  Ann 
Sheridan;  Bill  Morris,  Howard  Wilson;  Benson, 
Phillip  Morris;  Undertaker,  Albert  Hart;  "Flash," 
Allen  Wood;  Butts,  Richard  Carle;  Brown,  Ralph 
Remley;  Shorty,  C.  L.  Sherwood;  Hotel  Clerk,  Francis 
Sayles;  Lem,  Alfred  Delcambre. 

"I  AM  A  THIEF"— Warners.— From  the  story 
by  Ralph  Block  and  Doris  Malloy.  Directed  by 
Robert  Florey.  The  cast:  Odette  Mauclair,  Mary 
Astor;  Pierre  Londais,  Ricardo  Cortez;  Colonel  Jack- 
son, Dudley  Digges;  Daudet,  Hobart  Cavanaugh; 
Count  Trenlini,  Irving  Pichel;  Baron  Yon  Kampf, 
Robert  Barrat;  Francois,  Arthur  Aylesworth;  M. 
Cassiel,  Ferdinand  Gottschalk;  Max  Bolen,  Frank 
Reicher. 

"IMITATION  OF  LIFE"— Universal.— From 
the  novel  by  Fannie  Hurst.  Screen  play  by  William 
Hurlbut.  Directed  by  John  M.  Stahl.  The  cast: 
Beatrice  "  Bea"  Pullman,  Claudette  Colbert;  Stephen 
Archer,  Warren  William;  Elmer,  Ned  Sparks;  Aunt 
Delilah,  Louise  Beavers;  Jessie  Pullman  (age  3), 
luanita  Quigley;  Jessie  Pullman  (age  8),  Marilyn 
Knowlden;  Jessie  Pullman  (age  IS),  Rochelle  Hud- 
son; Peola  Johnson  (age  -f),  Sebie  Hendricks;  Peola 
Johnson  (age  9),  Dorothy  Black;  Peola  Johnson  (age 
19),  Fredi  Washington;  Martin,  Alan  Hale;  Land- 
lord, Clarence  Hummel  Wilson;  Painter,  Henry 
Armetta. 

"IT'S  A  GIFT" — Paramount. — From  the  story 
by  Charles  Bogle  and  J.  P.  McEvoy.  Screen  play  by 
Jack  Cunningham.  Directed  by  Norman  McLeod. 
The  cast:  Harold  Bissonetle,  W.  C.  Fields;  Mildred 
Bissonette,  Jean  Rouverol;  John  Durston,  Julian  Mad- 
ison; Amelia  Bissonetle,  Kathleen  Howard;  Norman 
Bissonetli,  Tom  Bupp;  Everett  Ricks,  Tammany 
Young;  Baby  Dunk,  Baby  LeRoy;  Jas.  Filchmueller, 
Morgan  Wallace;  Mr.  Muckle,  Charles  Sellon;  Airs. 
Dunk,  Josephine  Whittel;  Miss  Dunk,  Diana  Lewis; 
Insurance  Salesman,  T.  Roy  Barnes;  Gale  Guard, 
Spencer  Charters;  Harry  Payne  Bosterly,  Guy  Usher; 
Mr.  Abernathy,  Del  Henderson;  Vegetable  Man,  Jerry 
Mandy;  Ice  Man,  James  Burke;  Old  Man  in  Limou- 
sine, Wm.  Tooker;  Old  Woman  in  Limousine,  Edith 
Kingdon;  Mrs.  Frobisher,  Patsy  O'Bryne. 

"MARIE  GALANTE"— Fox.— Based  on  the 
novel  by  Jacques  Deval.  Screen  play  by  Reginald 
Berkeley.  Directed  by  Henry  King.  The  cast:  Craw- 
belt,  Spencer  Tracy;  Marie  Galante,  Ketti  Gallian; 
Plosser,  Ned  Sparks;  Tapia,  Helen  Morgan;  Brogard, 
Siegfried  Rumann;  Tenoki,  Leslie  Fenton;  General 
I'hillips,  Arthur  Byron;  Ratcliff,  Robert  Loraine; 
Sailor,  Jay  C.  Flippen;  Ellsworth,  Frank  Darien;  Tito, 
Tito  Coral;  Bartender,  Stephin  Fetchit. 

"MAYBE  IT'S  LOVE— First  National.— From 
the  play  by  Maxwell  Anderson.  Screen  play  by  Jerry 
Wald  and  Harry  Sauber.  Directed  by  William 
McGann.  The  cast:  Bobby  Halevy,  Gloria  Stuart; 
Rims  O'Neil,  Ross  Alexander;  Willie  Sands,  Frank 
McHugh;  Mrs.  Halevy,  Helen  Lowell;  Adolph  Xlengle, 
Jr.,  Phillip  Reed;  Adolph  Xlengle,  Sr.,  Joseph  Caw- 
thorn;  Florrie  Sands,  Ruth  Donnelly;  Lila,  Dorothy 
Dare;  Mr.  Halevy,  Henry  Travers;  Mrs.  Gorlick, 
Maude  Eburne;  The  cop,  J    Farrell  MacDonald. 

"MIGHTY  BARNUM,  THE"— 20th  Century- 
United  Artists. — From  the  screen  play  by  Gene 
Fowler  and  Bess  Meredyth.  Directed  by  Walter 
Lang.  The  cast:  Phineas  T.  Barnum,  Wallace  Beery; 
Mr.  Walsh,  Adolphe  Menjou;  Jenny  Lind,  Virginia 
Bruce;  Ellen,  Rochelle  Hudson;  Nancy  Barnum,  Janet 
Beecher;  Todd,  Tammany  Young;  Man  with  Three- 
headed  frog,  Herman  Bing;  Joice  Heth,  Lucille  La 
Verne;  General  Tom  Thumb,  George  Brasno;  Lavinia 
Thumb,  Olive  Brasno;  Gilbert,  Richard  Brasno; 
Bearded  Lady,  May  Boley;  Skiff,  John  Hyams;  Car- 
diff Giant,  Tex  Madsen;  Swedish  Consul,  Ian  Wolfe; 
Horace  Greeley,  Davison  Clark;  Daniel  Webster, 
George  MacQuarrie;  Maitre  d'Hotel,  Charles  Judels; 
(»/,■,  Christian  Rub;  Sam,  Franklyn  Ardell;  Mrs. 
Wendell-Wendell,  Ethel  Wales;  Mrs.  (i'aldo  Astor, 
Theresa  M.  Conover;  Mrs.  Rhinelander-Fish,  Brenda 
Fowler. 

"NIGHT  ALARM"— Majestic— From  the  story 
by  Jack  Stanley.  Screen  play  by  Earl  Snell.  Directed 
by  Spencer  Bennet.  The  cast:  Hal  Ashby,  Bruce 
Cabot;  Helen  Smith,  Judith  Allen;  Henry  B.  Smith. 
H.  B.  Warner;  Caldwell,  Sam  Hardy;  The  Mayor, 
Harry  Holman;  Mosley,  Harold  Minjir;  Mrs.  Van 
Dusen,  Betty  Blythe;  Entertainer,  Fuzzy  Knight; 
Vincent  Van  Dusen,  Tom  Hamlin;  Dexter,  John 
Bleifer. 

"ONE  HOUR  LATE"— Paramount.— From  the 
story  by  Libbie  Block.  Screen  play  by  Kathryn  Scola 
and  Paul  Gerard  Smith.  Directed  by  Ralph  Murphy. 
The  cast:  Eddie  Blake,  Joe  Morrison;  Bessie  Dunn, 
Helen  Twelvetrees;  Stephen  Barclay,  Conrad  Nagel; 
Hazel,  Arline  Judge;  Cliff  Miller,  Ray  Walker;  Maxie, 
Edward  Craven;  Maizic,  Toby  Wing;  Mrs.  Eileen 
Barclay,  Gail  Patrick;  Simpson,  Charles  Sellon;  Mr. 
Zeller,  Edward  Clark;  Tony  St.  John,  Ray  Milland; 
Benny,  George  E.  Stone;  Jim,  Bradley  Page;  Orrville, 
Sidney  Miller;  Gertrude,  Gladys  Hulette;  Mr.  Finch, 
Jed  Prouty;  Sick  Woman,  Hallene  Hill-  Her  daughter, 
Diana  Lewis;  1st  friend,  Frank  Losee,  Jr.;  2nd  friend, 
Alfred  Delcambre;  Soda  Clerk,  Douglas  Blackley. 


"PERFECT  CLUE,  THE' —Majestic— From 
the  story  by  Lolita  Ann  Westman.  Adapted  by 
Albert  DeMond.  Directed  by  Robert  Vignola.  The 
cast:  David  Mannering,  David  Manners;  Ronnie  Van 
Zandl,  Skeets  Gallagher;  Mona  Stewart,  Dorothy 
Libaire;  Jerome  Stewart,  Wm.  P.  Carlton;  Barkley. 
Ralf  Harolde;  Carter,  Ernie  Adams;  Delaney,  Robert 
Gleckler;  Station  Master,  Frank  Darien;  District  At- 
torney, Charles  C.  Wilson;  Ursula  Cheeseborough. 
Betty  Blythe;  Simms,  Jack  Richardson;  Police 
Officer,  Pat  O'Malley. 

"PRESIDENT  VANISHES,  THE"— Walter 
Wanger-Paramount. — From  an  anonymous  story- 
Screen  play  by  Carey  Wilson  and  Cedric  Worth. 
Adapted  by  Lynn  Starling.  Directed  by  William  A. 
Wellman.  The  cast:  Wardell,  Edward  Arnold;  Presi- 
dent, Arthur  Byron;  Chick  Moffat,  Paul  Kelly;  Alma 
Cronin,  Peggy  Conklin;  Val  Orcott,  Andy  Devine; 
Mrs.  Stanley,  Janet  Beecher;  Harris  Brownell,  Osgood 
Perkins;  D.  L.  Voorman,  Sidney  Blackmer;  Lincoln 
Lee,  Edward  Ellis;  Mrs.  Orcott,  Irene  Franklin; 
Richard  Norton,  Charley  Grapewin;  Sally  Voorman, 
Rosalind  Russell;  Roger  Grant,  Douglas  Wood;  Drew, 
Walter  Kingsford;  Cullen,  DeWitt  Jennings;  Judge 
Corcoran,  Charles  Richman;  Kilbourne,  Jason  Ro- 
bards;  Skinner,  Paul  Harvey;  Molleson,  Robert  Mc- 
Wade;  Kramer,  Harry  Woods;  Nolan,  Tommy  Du- 
gan;  Mrs.  D tiling,  Martha  Mayo. 

"RED  MORNING"— RKO-Radio.— From  the 
story  by  Wallace  Fox  and  John  Twist.  Directed  by 
Wallace  Fox.  The  cast:  Kara,  Steffi  Duna;  John 
Hastings,  Regis  Toomey;  Captain  Paraza,  Mitchell 
Lewis;  Stanchon,  Charles  Middleton;  Glibb,  Arthur 
"Pat"  West;  Hawker,  Raymond  Hatton;  Wong, 
Willie  Fung;  The  Native  Chief,  George  Regas;  Mac, 
George  Lewis;  A  Trader,  Olaf  Hytten;  Sakki,  Francis 
McDonald;  Store  Keeper,  Lionel  Belmore;  The  Magis- 
trate, Brandon  Hurst;  Hotel  Keeper,  James  Marcus. 

"ROMANCE  IN  MANHATTAN"— RKO-R\- 
dio. — From  the  story  by  Norman  Krasna  and  Don 
Hartman.  Screen  play  by  Jane  Murfin  and  Edward 
Kaufman.  Directed  by  Stephen  Roberts.  The  cast: 
Karel  Novak,  Francis  Lederer;  Sylvia  Dennis,  Ginger 
Rogers;  Frank  Dennis,  Jimmy  Butler;  Attorney 
Pander,  Arthur  Hohl;  Officer  Murphy,  J.  Farrell 
MacDonald;  Miss  Anthrop,  Helen  Ware;  Minister, 
Donald  Meek;  Police  Sergeant,  Sidney  Toler;  Miss 
Evans,  Eily  Malyon;  Landlady,  Lillian  Harmer. 

"SEQUOIA"  —  M-G-M.  —  Based  on  the  novel 
"Malibu"  by  Vance  Joseph  Hoyt.  Adapted  by  Ann 
Cunningham,  Sam  Armstrong  and  Carey  Wilson. 
Directed  by  Chester  M.  Franklin.  The  cast:  Toni 
Martin,  Jean  Parker;  Bob  Alden,  Russell  Hardie; 
Matthew  Martin,  Samuel  S.  Hinds;  Bergman,  Paul 
Hurst;  Joe,  Ben  Hall;  Sang  Soo,  Willie  Fung;  Fen> 
Soo,  Harry  Lowe,  Jr. 

"SILVER  STREAK,  THE"  —  RKO-Radio.  — 
From  the  story  by  Roger  Whately.  Screen  play  by 
Roger  Whately  and  H.  W.  Hanemann.  Directed  by 
Thomas  Atkins.  The  cast:  Ruth  Dexter,  Sally  Blane; 
Tom  Caldwell,  Charles  Starrett;  Allan  Dexter,  Hardie 
Albright;  B.  J.  Dexter,  William  Farnum;  Von  Brechl, 
Irving  Pichel;  Crawford,  Arthur  Lake;  Mr.  Tyler, 
Theodore  Von  Eltz;  Higgins,  Guinn  Williams; 
O'Brien,  Edgar  Kennedy;  Dr.  Flynn,  Murray  Kinnell: 
Molly,  Doris  Dawson;  McGregor,  Harry  Allen. 

"STRANGE  WIVES"— Universal.— From  the 
story  "Bread  Upon  the  Waters"  by  Edith  Wharton. 
Adapted  by  Gladys  Unger.  Directed  by  Richard 
Thorpe.  The  cast:  Jimmy  King,  Roger  Pryor;  Nadja, 
June  Clayworth;  Olga,  Esther  Ralston;  Warren,  Hugh 
O'Connell;  Paul,  Ralph  Forbes;  Boris,  Cesar  Ro- 
mero; Bellamy,  Francis  Sullivan;  Mauna,  Valerie 
Hobson;  Svengaarl,  Leslie  Fenton;  Dimilry,  Ivan 
Lebedeff;  Mrs.  Leeper,  Doris  Lloyd;  Guggins,  Claude 
Gillingwater;  Princess,  Carry  Daumery;  Hilda,  Greta 
Meyers;  Tribesman,  Harry  Cording;  The  Butler,  Olaf 
Hytten;  General  Kouraljine,  Walter  Walker. 

"WEST  OF  THE  PECOS  "—RKO-Radio.— From 

the  story  by  Zane  Grey.  Directed  by  Phil  Rosen.  The 
cast:  Pecos  Smith,  Richard  Dix;  Terrill  Lambeth, 
Martha  Sleeper;  Colonel  Lambeth,  Louis  Mason; 
Jonah,  Sleep'n'Eat;  Mauree,  Louise  Beavers;  Wes, 
Adrian  Morris;  Cort,  George  Cooper;  Breen  Sawtell, 
Fred  Kohler;  Sam  Sawtell,  Pat  Collins;  Charlie, 
Charles  Stevens;  Manuel,  Pedro  Regis;  Bill  Hald, 
Oscar  Apfel;  Brazee,  John  Wray;  Neal,  Russell  Simp- 
son; Evans,  Maurice  Black. 

"WHEN  A  MAN  SEES  RED"— Universal  — 
From  the  story  by  Basil  Dickey.  Screen  play  by  Alan 
James.  Directed  by  Alan  James.  The  cast:  Buck 
Benson,  Buck  Jones;  Mary  Lawrence,  Peggy  Camp- 
bell; Dick  Brady,  Leroy  Mason;  Barbara,  Dorothy 
Revier;  Ben,  Sid  Saylor;  Radcliffe,  Frank  LaRue; 
Mandy,  Libby  Taylor;  Sheriff,  Jack  Rockwell;  Padre, 
Charles  K.  French;  Spook,  Bob  Kortman;  Spike, 
William  Steele;  Silver,  Silver. 

"WICKED  WOMAN,  A' '—M-G-M.— From  the 
novel  by  Anne  Austin.  Screen  play  by  Florence  Ryer- 
son  and  Zelda  Sears.  Directed  by  Charles  Brabin. 
The  cast:  Naomi  Trice,  Mady  Christians;  Rosanne, 
Jean  Parker;  Naylor,  Charles  Bickford;  Yancey, 
Betty  Furness;  Curtis,  William  Henry;  Curtis,  as  a 
child,  Jackie  Searl;  Yancey,  as  a  child,  Betty  Jane 
Graham;  Rosanne,  as  a  child.  Marilyn  Harris;  Ed 
Trice,  Paul  Harvey;  Gram  Tcague,  Zelda  Searsj  Bill 
Renton,  Robert  Taylor;  Peter,  Sterling  Holloway; 
Neddie,  George  Billings;  The  Sheriff,  DeWitt  Jen- 
nings. 


Photoplay  Magazine  for  February,  1935 


r  I  I 


Who  Is  Your  Husband's  Favorite  Actress? 


[  CONTINUED  FROM  PAGE  29  j 


throaty  voice.  The  stride,  slowed  down  to  the 
Garbo  tempo,  would  be  stunning.  But  this 
girl  always  tears  through  a  room  like  a  squirt 
of  seltzer.  She  wouldn't  have  to  sink  her 
voice  way  down  to  the  plumbing — it's  there 
already — but  the  way  she  uses  it  will  never 
make  papa  close  his  eyes  and  imagine  Greta 
has  him  enfolded  in  her  sensuous  embrace. 
The  girl  I  mention  sounds  off  like  a  fog-horn 
and  is  about  as  mysterious  as  a  black  eye. 
She's  really  a  very  swell  girl,  and  popular. 

She  has  a  lot  of  pride.  Naturally,  every 
woman  wants  to  be  loved  for  herself  and  not 
because  she  reminds  a  man  of  somebody  else. 
This  one  has  apparently  decided  she  would 
rather  let  her  husband  go  off  now  and  then  on 
a  harmless  emotional  binge  with  Garbo  and 
his  imagination,  than  make  any  effort  to  be  a 
little  Garbo  in  the  home.  She  is  confident  he 
will  always  come  back,  good  as  new.  (One 
nice  thing  about  these  picture  affairs — they're 
harmless,  and  quite  inexpensive.) 

A  CERTAIN  local  automobile  dealer  has 
■^^  been  married  only  a  year  to  a  dear,  little 
plump  blonde,  and  he  is  obviously  crazy  about 
her.  So  how  can  you  account  for  the  fact  that 
he  torments  the  poor  dear  with  his  tremendous 
enthusiasm  for  tall,  dark  Kay  Francis? 

Perhaps  he  does  it  for  the  fun  of  seeing  her 
sputter.  Perhaps  he  likes  a  change  in  type 
when  he  goes  to  the  theater.  But  it  proves  a 
man  can  be  sincerely  in  love  with  his  wife  and 
still  enjoy  looking  at  another  woman  who  isn't 
the  least  bit  like  her.  (It's  the  double  nature 
of  the  brutes.) 

It  is  extraordinary  the  number  of  quiet 
mousy  little  males  who  seem  to  get  a  bang  out 
of  Mae  West.  Look  around  you,  next  time 
you  see  one  of  her  pictures.  All  the  henpecked 
husbands  in  town  will  be  there.  "Here  is  a 
woman  who  really  understands  men,"  their  rapt 
concentrations  seem  to  say.  "  She  would  never 
be  a  nag  or  a  chatter-box  or  take  away  our 
rights.  We  could  tell  her  anything  and  she 
would  comprehend  it."  Mae  is  an  out  for  a 
flock  of  frustrations.        • 

Many  girls  resent  their  suitor's  interest  in 
his  favorite  actress  because  they  feel  the  picture 
queen  has  more  money  to  look  beautiful,  the 
facilities  for  it  are  available,  and  she  is  always 
presented  to  the  best  advantage. 

It  is  good  keen  competition,  all  right.  But 
regard  it  as  a  standard  to  live  up  to,  and  above 
all  things,  don't  do  your  resenting  out  loud. 
This  gives  any  man  the  edge 

It  is  always  a  mistake  to  carry  your  desire 
to  please  to  the  extent  of  too-obvious  imita- 
tion. You  can  never  be  another  person — and 
you  don't  want  to  be  another  person.  Men 
hate  copy-cats.  You  can  adapt  your  voice, 
your  clothes,  your  coiffure,  your  attitude.  But 
it  is  silly  to  strive  to  please  to  the  extent  of 
bleaching  your  hair  or  gluing  on  eyelashes  that 
wave  languidly  down  to  your  chin,  if  the  rest 
of  you  doesn't  belong. 

The  other  night  I  listened  in  brazenly  on  a 
little  scene  between  husband  and  wife  leaving 
the  theater.  "Boy,  how  that  Lombard  girl 
:  can  wear  clothes!"  exclaimed  the  man. 

I  looked  to  see  if  the  missis  reacted.  She 
did.  She  looked  as  if  she  yearned  to  push  him 
:  off  a  cliff.  "Oh,  clothes!  clothes!"  she  dis- 
dained. "Anybody  can  put  on  a  lot  of  clothes 
and  look  pretty." 


My  unspoken  answer  to  that  was  "well,  why 
don't  you?" 

An  attractive  woman,  but  the  fact  was  almost 
concealed.  An  old  beret  was  jammed  down 
over  her  hair,  a  pair  of  loose  slacks  whipped 
around  her  legs.  She  wore  sandals  meant  for 
the  beach,  from  which  raw  toes  stuck  out  to 
the  cruel  world.  Her  face  was  entirely  innocent 
of  make-up.  There  is  about  one  man  out  of 
ten  who  approves  this  sort  of  sloppy-comfort- 
able get-up.  This  husband  Was  one  of  the 
other  nine.  He  didn't  go  for  it.  "You  don't 
have  to  be  clothes-crazy"  was  his  Parthian 
shot,  "neither  do  you  have  to  look  as  if  you 
dressed  to  paint  a  house!" 

Often  it  is  a  bother  to  get  dressed  just  to  go 
up  the  street  to  a  picture  show — but  it  is  also 
a  bother  to  lose  your  man. 

In  the  smaller  communities  and  the  suburbs, 
you  frequently  see  some  quaint  costumes  going 
into  the  theater.  The  idea  is  to  be  comfortable 
— a  perfectly  laudable  idea — what  with  the 
lights  out  most  of  the  time  anyway,  you  figure. 
But  man  is  a  strange  creature.  Even  in  this 
emancipated  age,  he  would  rather  wait  half  an 
hour  for  a  girl  to  get  ready  who  shows  results, 
than  wait  five  minutes  for  one  who  slips  on 
the  top  stair  and  comes  down.  (The  joke  has 
a  beard — but  you  get  the  idea.) 

If  your  husband  is  an  inarticulate  sort  of  a 
guy  who  would  be  embarrassed  to  admit  his 
favorite  actress — or  even  hint  that  he  has  one 
— you  will  have  to  do  a  little  probing.  There 
is  always  one  whose  picture  he  goes  to  see  with- 
out fail.  If  she  happens  to  be  Jean  Harlow,  and 
you  are  an  anxious  housewife,  maybe  a  little 
frivolity  on  your  part  would  be  a  good  idea. 
Or  maybe  you  should  take  off  a  few  pounds. 
Have  you  ever  noticed  how  these  lads  who 
claim  to  be  crazy  about  you  plump  take  a  new 
lease  on  life  when  you  get  the  bulges  off  your 
hips? 

A  SURPRISING  number  of  men  suffer  with 
Claudette  Colbert  trouble,  and  an  equally 
surprising  number  of  wives  either  dismiss  it  as 
a  joke  or  wonder  what  they  can  do  about  it. 

I  suspect  one  wife  of  taking  the  hint.  She 
has  had  her  black  hair  cut  in  a  most  becoming 
bang,  and  trimmed  her  figure  down  to  perfec- 
tion. Then  suddenly,  she  began  to  dress  for 
dinner  every  night.  Now  don't  snicker  and 
accuse  her  of  being  affected.  She  has  to  get 
the  dinner  herself,  just  as  many  wives  do,  but 
you  can  get  a  much  better  dinner  with  your 
arms  bare.  Maybe  it  was  her  own  idea,  maybe 
she  decided  that  was  what  the  soignee  Claud- 
ette would  do.  Anyway,  she  slips  into  a  snug 
little  black  dress,  does  something  miraculous 
to  her  hair — and  you  would  be  surprised  how 
frequently  papa  shows  up  with  flowers  these 
winter  evenings. 

Of  course,  girls,  if  you're  going  to  continue 
being  hot  and  bothered  over  Clark  Gable  and 
John  Boles,  you  may  as  well  expect  the  other 
side  of  the  house  to  retaliate  in  the  only  pos- 
sible way. 

After  all,  remember  you  are  the  girl  he 
selected.  His  movie  crush  is  an  indirect  way 
of  informing  you  about  a  few  details — how  he 
likes  to  see  clothes  worn,  and  hair  and  figures, 
whether  he  likes  his  answers  snappy  or  meek 
and  mild  .  .  . 

Find  out  his  favorite  actress — and  take  the 
hint. 


" — at  my  bridge  party,  even 
my  little  daughter  noticed 
how  embarrassed  I  was  over 
my  red,  rough  hands. 

"Later  she  said,  'Mother, 
don't  you  think  maybe  your 
hands  would  look  as  nice  as 
Mrs.  Nugent's  if  you  used  Lux 
when  you  do  dishes?  She  says 
anybody  can  have  nice  hands 
by  using  Lux  instead  of  harsh 
soaps  that  make  people's 
hands  rough  and  red.' 

"And  it's  true!  Since  I've 
changed  to  Lux  for  dishes,  I'm 
actually  proud  of  my  hands! 
It  takes  so  little  to  make  rich 
suds  that  a  big  box  lasts  more 
than  a  month  for 
all  -the  dishes." 


^vAx^WS^ 


(Mrs.  R.  W.     \\ 

SAYLES) 


LUX 

for  dishes 
keeps  hands 
YOUNG  r^r 


1  1  2 


FREE 


Photoplay  Magazine  for  February,  1935 


The  most  complete  book  ever  writ- 
ten on  how  to  ponder  properly. 
Mail  coupon.  Note  generous  offer. 


The  Shadow  Stage 

The  National  Guide  to  Motion  Pictures 

(REG.    tf.   S.    FAT.   OFF.) 


HIS  HEART 

STOOD  STILL 

as  she  turiKMl  ... 

Again  ivould  he  be  disillu- 
sioned by  a  marble-face? 

WOULD  she,  too,  be  another  disappoint- 
ment —her  graceful  form  marred  by  an 
over-powdered  face — flaky,  white,  cold.'' 

Or  would  a  close-up  show  a  concealed, 
natural  powder  .  .  .  alive,  alluring? 

Such  is  the  experience  of  many  a  man  .  .  . 
and  many  girls  wonder  why  men  shy  away. 
If  men  dared  tell  the  truth,  they  hate  '"that 
powdered  look,"  too  often  patchy. 

Wise  girls,  taking  the  tip  from  the  smart 
leaders  of  international  society,  now  use  the 
one  powder  that  gives  them  an  K7i-pow.dered 
natural  look— SOFT-TONE  Mello-glo. 

This  new  creation  is  vastly  superior  because 
it's  stratified — a  costly  extra  process  that 
wafers  it,  ending  all  grit.  This  brings  an 
utterly  new  Parisian  effect — this  wafered  pow- 
der smoothes  on  invisibly,  is  longer  lasting 
and  covers  pores  without  clogging. 

Just  try  SOFT-TONE  Mello-glo  and  you'll 
never  fear  a  "close-up".  It  won't  flake  off.  It 
can't  shine.  It  ends  that  pasty,  '"flour-face" 
look  men  dislike. 

Don't  delay  -get  a  box  of  new  SOFT-TONE 
Mello-glo  today.  Compare  it  with  your  fa\ <>r- 
ite — see  how  much  better  you  look.  Five  flat- 
tering shades  —  caressingly  perfumed  —  50c 
and  $1. 

?\OTE:  To  obtain  the  new  SOFTTO\E  Mello- 
glo,  you  must  u*k  for'Hhe  gold  box  with  the  lilue 
edge,  which  distinguishes  it  ftom  out  Facial-tone 
Mello-glo   {Heavy)   in  a  gold  box  with  white  edge. 

p»  SOFT-TONE 

MELLO-GLO 

the  close-up  powder  that 
gives  an  UN -powdered  look 

Tj*  TD    "C1   Tj1      Merely     send     Coupon     for 

JL       11     !■     fi      fascinating    booklet:     "The 

New    Vogue     in     Powdering'*. 

•   The  Mello-glo  Co.,  Boston,  Mass.   p.h.2-36   j 
I    Name     | 


Street.. 


i 
i 

I     Cit)  State 

I    For  a  generous  package  (not  a  sample)   of  new  Soft- 
I    lone  Mello-glo,  enclose  10c,  checking  shade  you  wish: 

□  Ivory   □  pj^h    □  Natural  □  Rachel  □  Brunette. 


CONTINUED  FROM  PAGE  73 


THE  CURTAIN  FALLS— Chesterfield 

TLTENRIETTA  CROSMAN  carries  this 
picture  as  an  old  vaudeville  actress  (Sara 
Crabtree).  Obscure  now,  she  takes  a  last 
chance  and  impersonates  the  titled  Lady  Scores- 
by,  a  former  friend.  She  moves  in  on  her 
Ladyship's  relatives,  solves  their  involved 
problems,  then  confesses  her  hoax  and  the 
curtain  falls  on  her  last  performance.  Dorothy 
Lee,  Holmes  Herbert,  Natalie  Moorhead, 
William  Bakewell  and  others,  form  a  capable 
cast. 

FUGITIVE  ROAD— Invincible 

T_XERE  is  Eric  Von  Stroheim  in  the  kind  of 
role  that  made  him  famous — uniform, 
eyeglass,  and  all.  And  he's  just  as  good  as  he 
e\  er  was  as  the  commandant  of  a  frontier  post 
in  Austria,  falling  in  love  with  an  American 
girl,  Wera  Engels,  and  frustrated  in  his  ro- 
mantic plans  by  gangster  Leslie  Fenton. 
While  the  story  is  slender,  and  sometimes 
slow,  it  is  well  acted  and  well  directed.  Not  a 
children's  film. 

MAYBE  IT'S  LOVE— First  National 

A  YOUNG  couple,  during  the  first  six 
months  of  a  hasty  marriage — the  girl 
desperate  over  lack  of  money  and  the  boy 
burdened  by  the  interferences  of  her  family — 
is  the  theme  of  ".Maybe  It's  Love."  Ross 
Alexander  makes  the  young  husband  an 
extremely  interesting  person,  but  the  picture 
on  the  whole  is  frankly  dull.  Phillip  Reed  and 
Gloria  Stuart  are  hampered  by  their  parts. 
Frank  McHugh,  Ruth  Donnelly,  Helen  Lowell 
and  Henry  Travers. 

THE  SILVER  STREAK     RKO- Radio 

'"THE  new  streamline  train,  hero  of  "The 
Silver  Streak,"  lends  this  picture  a  swift 
dramatic  sense.  The  human  actors  are  forced 
into  the  background  by  this  mechanical  miracle 
which  gallantly  speeds  across  the  continent, 
delivering  respirators  to  the  stricken  men  at 
Boulder  Dam,  and  winning  Sally  Blane  for 
Charles  Starrett.  William  Farnum  is  the  old 
railroad  owner  and  Hardie  Albright,  his  son. 
Edgar  Kennedy  turns  in  a  grand  performance. 

NIGHT  ALARM— Majestic 

T_JT.RE  is  a  new  picture  idea — the  firebug 
who  starts  mysterious  blazes  and  the 
drama  of  tracking  him  down.  It  gives  a  grand 
opportunity  for  a  flock  of  spectacular  fires  and 
you  get  all  the  thrill  of  going  to  them.  There 
is  also  a  newspaper  story  with  Bruce  Cabot  a 
the  young  reporter  who  turns  smoke-eater 
and  saves  Judith  Allen.  H.  B.  Warner  and 
Sam  Hardy  help  to  make  this  quite  worth 
your  while. 

THE  PERFECT  CLUE— Majestic 

XTOT  too  expertly  made,  but  this  murder 
drama-society  play  has  its  moments. 
You'll  find  the  plot  wandering  a  little  as  a 
wealthy  girl  falls  for  a  handsome  stick-up  man 
and  clears  him  of  a  "framed"  murder  charge  by 
blasting   the   state's   "perfect   clue."     Brighl 


moments  are  contributed  by  Skeets  Gallagher 
and  a  smooth  performance  by  David  Manners. 
Director  Robert  Vignola  has  done  well  with 
the  slim  cast  and  story  handicaps.  Dorothy 
Libaire,  Betty  Blythe. 

FLIRTING  WITH  DANGER— 
Monogram 

"DOH  Armstrong,  Bill  Cagney  and  Edgar 
Kennedy  are  tough  guys  in  a  Central 
American  high  explosives  plant.  Their  tinker- 
ing with  highly  dangerous  explosives  and  their 
exploits  with  the  "fair  sex"  form  the  basis 
for  much  confusion  and  many  laughs.  Maria 
Alba,  as  Rosila,  the  Spanish  charmer,  and  the 
rest  of  the  cast,  carry  this  comedy  to  a  good 
gag  finish.    Youngsters  will  find  it  fun. 

HOME  ON  THE  RANGE— Paramount 

""PUIS  is  an  up-to-date  Western.  And  while 
the  old  mortgage  is  still  present,  the  crooks 
who  want  it,  use  modern  methods.  Jackie 
Coogan  is  Randy  Scott's  brother.  Their 
ranch  is  near  Tia  Juana  so  they  are  raising 
race-horses  as  well  as  cattle — and  Jackie  rides 
"Midnight"  to  win  in  spite  of  the  opposition. 
Evelyn  Brent  is  the  girl  card-sharp  who  goes 
straight  with  Randy  to  guide  her.  A  few  more 
like  this  should  make  Westerns  more  popular. 

FATHER  BROWN,  DETECTIVE 
—Paramount 

r^ERTRUDE  MICHAEL  is  the  one  thrill 
^^in  this  rather  punchless  crook  drama.  She 
is  gorgeous.  Unfortunately,  Walter  Connolly, 
as  the  priest  with  a  flair  for  detective  work, 
lets  his  role  become  monotonous.  And  Paul 
Lukas,  as  the  crook  who  plans  a  robbery  so  he 
can  marry  Gertrude,  is  woefully  miscast.  The 
story  material  is  good,  taken  from  one  of  G  K.  | 
Chesterton's  famous  "Father  Brown"   tales.  ' 

WHEN  A  MAN  SEES  RED— Universal 

TNCLE  JED,  on  his  death  bed,  forms  a 
^^^plan  for  pounding  some  sense  into  the 
pretty  blonde  head  of  his  niece,  Peggy  Camp- 
bell, who  won't  leave  her  wild  friends  in  the 
East.  He  wills  his  cattle  ranch  to  her  and  then 
appoints  his  foreman,  Buck  Jones,  as  her 
guardian. 

There  is,  of  course,  the  inevitable  clash  of 
wills — until  the  final  clinch.  There  are  chases, 
lots  of  shooting,  some  good  trick  riding,  and 
rescues. 

IN  OLD  SANTA  FE— Mascot 

A  SWIFT-MOVING,  hard-riding  Western, 
^*-  with  plenty  of  action  and  lots  of  thrills. 
It  wraps  up  a  dozen  plots,  for  the  price  of  one, 
and  untangles  each  of  them  neatly,  never  slow- 
ing up  the  pace.  Ken  Mayimrd,  his  horse, 
Tarzan,  Evalyn  Knapp,  H.  B.  Warner,  Ken- 
neth  Thomson,  and  the  entire  cast  do  a  good 
job.  Youngsters  and  adults  who  enjoy  fast- 
shooting  horse  operas,  shouldn't  miss  it. 

RED  MORNING— RKO-Radio 

TF  you're  not  tired  of  seeing  savages  sneaking 
through     the    forest     with    poison     spears, 


Photoplay  Magazine  for  February,  1935 


I  [3 


unching  canoes  for  tribal  wars,  scenes  of 
vage  dances  and  sacrificial  fires,  you'll  en- 
y  this.  The  lovely  presence  of  Steffi  Duna 
the  only  new  thing  in  the  picture.  And 
rancis  McDonald  gives  a  good  performance. 
therwise  it's  old  stuff,  effectively  done  but 
milar. 

i  THE  FIGHTING  ROOKIE— May  fair 

\  N  out-and-out  quickie  which  moves  very 
*-slowly.  Cop  Jack  LaRue  is  "framed"  by 
gang  who  pulls  a  job  on  his  beat,  and  his 
ispension  from  the  force  threatens  his  ro- 
ance  with  Ada  Ince.     Hut  Jack  j^ets  in  with 


the  crooks  and  sends  'em  up  the  river.  Packed 
with  trite  situations  and  not  so  much  lighting 
as  you've  a  right  to  expect. 

DEALERS  IN  DEATH— Topical  Films 

T__TFRE  is  a  film  all  those  interested  in  world 
peace  will  welcome.  With  news-reel  shots 
and  many  specially-made  sequences  the  picture 
aims  to  expose  the  munitions  racket  and  to  tell 
the  truth  about  war.  Whether  you  are  a 
pacifist  or  not,  you  leave  the  theater  horrified 
at  the  high  price  of  war  and  the  tremendous 
cost  of  armanents.  It's  interestingly  put  to- 
gether, and  a  brave  piece  of  work. 


Mitzi's  Hollywood  Merry-Go-Round 


CONTINUED  FROM  PAGE   75 


>esn't  have  to  work?  Ann  doesn't  know  the 
lswer.  As  additional  playmates,  I  might  in- 
rm  you,  our  movie  queen  has  also  two  cocker 
laniels,  several  hens  and  a  bunch  of  ducks, 
le  and  Leslie  Fenton,  her  talented  husband 
.e  such  an  idyllic  life.  Paul  Muni,  by  the 
iy,  is  a  neighbor. 

Alice  White  goes  for  Oscar  the  cat.  Oscar 
is  two  dog  companions,  all  living  under  the 
me  roof.  Although  said  canines  fight  all 
her  cats  in  the  neighborhood,  they  treat 
icar  with  something  resembling  when  Knight- 
lod  Was  in  Flower.  If  they  didn't,  Alice 
llded,  she'd  wallop  the  dog  biscuit  out  of 
era!  Before  the  meal  was  over,  I  knew  by 
art  what  food  was  best  suited  for  domestic 
.imals  .  .  .  what  chickens  deposit  the  best 
tgs  .  .  .  and  the  grade  of  milk  that  Annie 
igerly  dispenses.  You  know,  Joanie,  I've 
ways  loved  this  rural-domestic  sort  of  exist- 
ice.  Guess  I'd  better  become  a  movie  star, 
ih? 

Claire  Dodd,  the  beauteous  vamp  with  the 
(in  of  a  child,  has  given  me  such  a  swell 
utine  for  facial  care  that  I  pass  it  on  to  you, 
,ney.  Nothing  personal,  of  course. 
First,  at  night  you  cream  your  face.  (Twice 
always  better.)  If  you're  a  dry-skinner,  I'd 
ive  some  on.  Next  morning  (you  can  do  this 
irt  under  the  shower)  scrub  your  pan  with  a 
mplexion  brush  and  any  baby  soap.  Clean 
d  shining,  you  still  go  on  scrubbing,  this  time 
th  either  table  salt  or  complexion  sand.  You 
w  splash  this  off  with  ten  good,  cold  dashes 
■HjO  (water,  lovey!).  Dry  hard  now;  rub  in 
me  cream  for  softening;  let  it  stay  a  bit;  re- 
bve;  tonic,  if  you  want  it;  make-up.  Result? 
tvishing! 

AID  I  to  Claire,  "I  can  see  it's  marvelous 
•  .  .  your  skin  looks  beautiful."  To  which 
r  fond  husband  made  quick  retort:  "She's 
sn  more  lovely  when  she  wakes  up  in  the 
irning!"  Zounds,  what  a  man! 
Not  so  long  ago  Jack  LaRue's  lady-friend, 
o  is  Miss  Simpson  of  Society,  gave  him  a 
]rty,  and  to  all  guests  she  said,  "Be  sure  to 
'tie  early  as  I  have  an   announcement   to 

!ke."  We  were  all  nearly  killed  in  the  rush! 
t  the  announcement  isn't  an  engagement  at 
We  were,  instead,  informed  that  Mr. 
Rue's  nose  had  just  been  done  over! 
3ne  of  the  new  gaieties  in  these  parts,  Joan, 
he  Sunday  Night  Frolics,  a  vaudeville  show 
'  ere  anything  can  happen.  Right  after  the 
i  ermission  come  the  introductions,  and  last 
' ';k  when  Bert  Wheeler  was  introduced,  up 
j  ped  Groucho  Marx,  before  Bert  could  get  to 
1   feet  even,  and  bowed  and  threw  kisses! 


Then  Will  Rogers  stood  up  and  gave  such  a 
touching  speech  on  how  wonderful  it  was  to  see 
vaudeville  again  that  everyone  was  gulping. 
But  for  tears,  there  was  no  equaling  when 
Charley  Ray  was  asked  to  take  a  bow.  The 
applause  boomed  for  a  full  five  minutes,  and 
Charley  just  stood  there  with  his  head  bowed 
at  such  a  demonstration.  Finally,  he  managed, 
"I  can  only  say  I  love  you." 

T'M  sentimental  now,  pet,  so  don't  stop  me. 

Fred  Keating,  who  can  throw  me  into  a  com- 
plete state  of  ga-ga  with  his  disappearing 
canary  act,  next  did  the  gallant  thing  by  intro- 
ducing the  widow  of  Harry  Houdini,  whose  life 
Fred  is  going  to  portray  on  the  screen.  Fred 
said  that  Houdini  was  a  great  master,  and  it 
was  a  privilege  to  have  known  him.  Mrs. 
Houdini,  standing  in  the  audience  with  tears  in 
her  eyes,  threw  Fred  a  big  kiss. 

Nothing  leaves  my  tummy  in  such  a  devas- 
tated state  as  emotion,  so  right  after  the  show 
we  went  to  the  Derby  for  hash.  Across  the 
aisle  was  Bill  Demarest  and  Ruth  Mix  (Tom's 
daughter),  who  had  just  done  a  swell-elegant 
act.  We  cajoled  Ruthie  to  leave  her  party  and 
visit  for  a  while.  I  had  the  most  interesting 
time  listening  to  her  tell  stories  of  her  daddy's 
romance  with  her  mother;  how  he  taught  Ruth 
to  ride  and  rope  when  she  was  a  little  girl;  how 
he  got  into  pictures;  and  things  like  that.  She 
told  me,  too,  that  the  type  of  pony  that  most 
of  our  best  polo  players  use  was  first  bred  by 
her  mother  on  their  Western  ranch,  and  is  a 
result  of  breeding  an  Oklahoma  cow  pony  and 
a  Kentucky  thoroughbred. 

Let  me  tell  you  of  the  nip-ups  May  Robson 
used  to  pull  when  she  was  a  young  girl  like  you 
and  me  and  belonged  to  a  stock  company  under 
the  care  of  Charles  Frohman.  This  particular 
company  was  composed  of  a  frisky  bunch  of 
actors  who  were  always  pulling  tricks  on  each 
other.  F'rinstance,  once  when  the  leading  lady 
started  to  carve  delicately  a  cake  in  her  big 
scene,  she  had  to  saw  and  saw  and  then  it 
didn't  do  any  good,  because  the  cake  was  made 
of  wood!  Well,  she  got  even!  Next  day, 
when  one  of  the  actors  had  to  rip  up  a  letter  in 
an  emotional  moment,  he  yanked  and  yanked, 
but  the  dern  thing  wouldn't  even  rip.  It  was 
a  substitute  made  of  linen! 

Well,  with  one  trick  and  another,  the  troupe 
finally  hit  New  York  and  Mr.  Frohman  gave 
them  a  bawling  out  and  told  them  to  get  back 
on  their  dignity.  Later,  May  came  to  him 
alone  and  begged  for  just  an  opportunity  to 
avenge  herself.  Frohman  gave  in,  but  he 
cautioned  her,  "After  tonight,  you  start  stop- 
ping!" 


Bid  That 

COLD 

Be  Gone! 

Oust  It  Promptly  with 
this  4 -Way  Remedy! 

A  COLD  is  no  joke  and  Grove's  Laxa- 
tive Bromo  Quinine  treats  it  as  none! 
It  goes  right  to  the  seat  of  the  trouble, 
an  infection  within  the  system.   Surface 
remedies  are  largely  makeshift. 

Grove's  Laxative  Bromo  Quinine  is 
speedy  and  effective  because  it  is  expressly 
a  cold  remedy  and  because  it  is  direct 
and  internal— and  COMPLETE! 

Four  Things  in  One! 

Grove's  Laxative  Bromo  Quinine  and 
only  Grove's  Laxative  Bromo  Quinine 
does  the  four  things  necessary. 

It  opens  the  bowels.  It  combats  the 
cold  germs  in  the  system  and  reduces 
the  fever.  It  relieves  the  headache  and 
grippy  feeling.  It  tones  and  fortifies  the 
entire  system. 

That's  the  treatment  a  cold  requires 
and  anything  less  is  taking  chances. 

When  you  feel  a  cold  coming  on,  get  busy 
at  once  with  Grove's  Laxative  Bromo  Quinine. 
For  sale  by  all  druggists. 

Ask  for  it  by  the  full  name — Grove's  Laxa- 
tive Bromo  Quinine — and  resent  a  substitute. 


World's 

Standard 


GROVES  LAXATIVE 

BROMO 
QUININE 


Listen  to  Pat  Kennedy  and  Art  Kassel  and  his 
Kassels  -  in  -  the  -  Air  Orchestra  every  Sunday, 
Monday,  Tuesday,  Thursday  and  Friday,  1:45 
pm,  Eastern  Standard  Time,  Columbia  Coast- 
to-Coast   Network 


ii4 

BOTH 


Photoplay  Magazine  for  February,  1935 


CMcde* 


PREFER 


Mascara 


as  do  ten  million 
other  women  because 
they  know  it  is 


.  .  .  absolutely  harmless 

.  .  .  really  tear-proof 

.  .  .  positively  non-smarting 

.  .  .  the  quickest  and  easiest  way  to  have 
the  natural  appearance  of  long,  dark, 
luxuriant  lashes,  making  the  eyes  appear 
larger,  brighter,  and  more  expressive. 

From  sweet  sixteen  to  queenly  fifty, 
women  the  world  over  have  learned  that 
Maybelline  is  the  perfect  mascara  for 
instantly  transforming  their  lashes  into 
flattering  dark  fringe.  Beauty-wise  wo- 
men of  all  ages  appreciate,  too,  the  fact 
that  the  famous  name  of  Maybelline  is 
backed  by  the  approval  of  Good  House- 
keeping Bureauand  other  leadingauthor- 
ities  for  its  purity  and  effectiveness. 

Encased  in  a  beautiful  red  and  gold 
vanity,  it  is  priced  at  75c  at  all  leading 
toilet  goods  counters.  Black,  Brown  and 
the  new  Blue.  Accept  only  genuine  May- 
belline to  be  assured  of  highest  quality 
and  absolute  harmlessness.  Try  it  today. 


That  night,  May,  who  played  the  sister,  had 
a  scene  with  the  leading-man  where  she  had  to 
squeeze  his  hand  goodbye  before  she  exit-ed. 
During  that  squeeze  she  slipped  an  oyster  into 
his  palm!  Frantically  our  hero  looked  around 
for  a  place  to  get  rid  of  it,  but  this  was  im- 
possible as  he  was  standing  in  the  middle  of  the 
stage.  The  next  moment,  out  tripped  the 
heroine  and  threw  her  arms  around  him.  Be- 
tween torrid  embraces  the  oyster  changed 
hands,  but  the  lady,  being  fastidious  by  nature, 
slipped  it  right  back  to  the  leading  man  again! 
If  the  audience  thought  the  loving  pair  acted  a 
bit  hysterically,  it  was  nothing  to  how  May 
was  acting  in  the  wings! 

T'M  a  woman  sadly  in  need  of  sympathy. 
This  past  month  has  brought  me  a  shattering 
experience.  For  ages  I've  been  angling  for  a 
luncheon  date  with  the  charming  Lew  Ayres, 
and  finally  it  gets  arranged.  I  sleep  late  so's 
I'll  look  like  a  daisy  and  feel  like  a  lark,  then  I 
take  two  hours  to  dress  till,  Lawsie  me,  I'm  as 
devastating  as  Crawford.  At  this  point  dear 
mama  comes  into  my  room  and  informs  me, 
with  murderous  nonchalance,  that  Mr.  Ayres 
and  Miss  Ginger  Rogers  have  just  announced 
their  engagement!    Sweet? 

Well,  when  I  became  resigned  to  the  fact 
that  there  was  nothing  I  could  do  about  it  I 
went  on  out  to  the  Fox  Studio  ...  a  fair  (?) 
ady  with  a  faint  heart.  '  I  can  tell  you  now, 
dearest  Joan,  just  how  wonderful  "Ginje"  (as 
Lew  adoringly  calls  her)  really  is.  I  can  tell 
you  of  all  her  virtues  ...  her  sound  common 
sense  .  .  .  her  ability  to  draw  .  .  .  her  pas- 
sion for  doing  right  ...  her  cute  habits  .  .  . 
her  exquisite  taste  ...  her  house-hunting, 
this  very  day  .  .  .  and  many,  many  other 
things.  In  fact,  there  is  nothing  else  of  that 
luncheon  that  I  can  relate,  except  All  About 
Ginje! 

And,  my  fine  friend,  how  did  you  like  that 
picture  I  sent  you,  last  letter — the  one  with 
Jean  Harlow?  Not  a  comment!  And  if  I 
hadn't  been  in  such  a  rush  to  get  it  to  you  I'd 
have  been  able  to  show  it  to  Jean's  mother! 
Jean  looked  like  a  dream,  of  course;  but  the 
unexpected  was  that  I  turned  out  to  be  a  kinda 
toothsome  morsel  myself  ...  or  did  you 
notice?  Anyway,  while  I  was  modestly  telling 
Jean's  mama  about  it  she  broke  in  anxiously 
with:  "But  how  does  my  baby  look?"  I 
tossed  my  hands  to  heaven.  "Madam,"  says 
I,  "just  how  do  you  think  Jean  would  look?" 
She  smiled.  "Well,  of  course,  she  could  take  a 
bad  picture."  "But  she  didn't!"  I  assured  her 
emphatically;  and  do  you  know,  the  dear 
woman  actually  breathed  a  sigh  of  relief. 

T  WISH  you  could  have  seen  her  dotter  a  few 
^nights  ago  at  Van  Dyke's  party.  (Ma-ma  .  .  . 
that  man's  here  again!)  A  dream  princess, 
that's  what  she  looked  like  in  her  black 
Grecian  robe  tied  with  a  long  cord,  sandals 
from  which  silver  toenails  peeked  (fingernails 
to  match)  and  gracing  the  famous  platinum 
cloud,  a  tiny  black  net  tricorne.  Pretty 
special! 

No  less  than  five  gents  in  as  many  minutes 
came  up  to  ask  if  they  could  bring  her  some 
dinner.  To  all  of  them  she  gave  the  same 
answer:  "Thanks  so  much,  but  Bill's  bringing 
me  some."  Privately  I  was  hoping  that  Mr. 
Powell  would  shake  a  leg,  for  little  Jeannie  in 
the  meanwhile  was  fast  demolishing  my  turkey 
and  black  olives,  both  of  which  I  craves 
mightily.  However,  her  boy  friend  appeared 
about  this  time,  not  only  with  her  dinner,  but 
having  in  tow  Cotton  Warburton,  the  U.  S.  C. 
footballer.  Jean  reached  with  one  hand  for  her 
dinner  (how  does  she  keep  that  figger!)  and 


with  the  other  she  dragged  Cotton  down  be- 
tween us  and  complimented  him  on  his  magnifi- 
cent playing.  We  ha'int  been  too  proud  of 
our  team  this  season,  pet,  but  Cotton  makes  a 
spectacular  showing  all  by  himself,  and  Jean 
was  mincing  no  words  telling  him  so.  The  lad 
was  so  happy  he  practically  floated  away  on  a 
soft  pink  cloud! 

Then  we  got  literary  for  a  bit  while  we  dis- 
cussed sister  Ruth's  book,  "  Song  of  the  Flesh," 
that  Jean  wants  to  do  if  M-G-M  buys  it.  The 
star  has  been  writing  a  novel,  too,  you  know, 
and  I  told  her  that  I  was  not  only  a-dither  to 
read  it,  but  also  practically  palsied  about  her 
being  so  ambitious.  Jean  smiled.  "I  don't 
know  if  I'm  so  ambitious,"  she  said.  "I  just 
like  to  work." 

I  might  seize  this  occasion  to  remark  that  I 
came  to  said  party  (the  christening  of  Van's 
new  playroom)  with  Nelson  Eddy.  Just  a  few 
nights  previous  I'd  heard  him  in  the  operetta 
"Secret  of  Suzanne,"  and  as  I  listened  to  his 
glorious  voice  I  noted  also  what  splendid  ease 
he  had  on  the  stage.  Nelson  confessed  the 
secret.  Remember  the  swell  cocktail  party  he 
threw  in  his  house?  It  was  given  in  a  big  room 
lined  with  mirrors.  The  house  once  belonged 
to  Lois  Moran,  and  she  built  on  the  addition 
and  put  in  the  looking-glasses  because  every 
morning  she  practiced  dancing.  Nelson  uses 
them  now  while  practicing  his  singing,  so  he 
can  see  in  what  position  he  looks  least  awkward 
and  feels  most  comfortable! 

•"THERE  were  droves  of  photographers  at  the 
party,  and  I  managed  to  dash  into  a  picture, 
as  you  can  witness  for  yourself.  I  also  had- 
much  joy,  accompanied  by  Otto  Kruger  and 
Jean  Hersholt,  in  examining  Van's  famous 
trophy  room.  One  huge  lion,  who  had  given 
himself  up  to  floor  decoration,  looked  so 
pathetically  like  Metro's  Leo  that  for  no  sane 
reason  Mr.  Kruger  draped  the  pelt  over  hi; 
head  and  emitted  a  couple  of  extremely  fierce 
moo's! 

Let's  see,  now,  if  I  can  remember  all  wht 
were  there.  Frances  Drake,  Billie  Burke 
Jeanette  MacDonald,  Conchita  Montenegro' 
Raul  Roulian,  Jack  Oakie,  Ted  Healy,  Irem 
Hervey  (who's  in  my  brother  Jack's  pictur 
"The  Winning  Ticket"  at  M-G-M),  Louis  B 
Mayer  and  scads  of  others.  There  were  alsj 
Van's  prop  men  and  their  wives,  his  electrician 
and  their  wives,  and  everyone  had  one  gloriou 
time.    Some  frolics,  hey  kid? 

A  LONG  about  two  in  the  A.  M.,  Jeanett 
'**-MacDonald  started  to  leave,  upon  whic 
Nelson,  in  the  foulest  off-key  notes  I've  evi 
heard,  sang  out  to  her  with  operatic  gesture 
"Go-o-dbye,  my  fair  one!"  To  which  tl 
lady,  also  in  heart-rending  discords,  warblet 
"Farewell,  Nelson,  I  must  leave,  must  lea\ 
you  now!"  But  two  hours  later  Jeanette  st 
was  leaving.  And  my  boy  friend  shrieki 
sourly,  "What— still  here?"  The  Man 
Widow  let  go  a  High  C  and  twittered  coy 
back:  "At  last  I  go!  At  last  I  go!  Farewel-1 
A  coupla  sillies! 

Now  that  I'm  in  a  goofy  mood  I  must  reg£ 
you  with  one  of  Jack  Oakie's  tidbits 
prisoner  on  the  scaffold,  about  to  be  hange 
was  asked  by  the  executioner  if  he  wished 
make  a  last  request.  "Yes,"  snapped  t 
condemned  man.  "Keep  your  darn  tr; 
shut!" 

Heh-heh!    Didn't  think  I'd  spring  that 
you,  did  you? 

Lots  of  love,  babe! 

Mitzi 


Photoplay  Magazine  for  February,  1935 


Carol,  Wally  and  Me 


[  CONTINUED  FROM  PAGE  45] 


I]5 


HEE  HAIR 

Once,  dull  and  lifeless 


|iome  at  the  time — but  I  knew  I  could  depend 
ipon  him.  That  night  I  went  home  to  him  and 
imply  said,  "Honey,  how  would  you  like  to 
lave  a  little  girl?" 
"How  would  I  like  to  have  a  kid?"  he  burst 
ut.  "  Why,  I'd  give  anything  in  the  world  to 
'ave  her!"  And  from  that  time  on,  he  talked 
f  nothing  else. 

The  first  night  she  arrived,  we  bought  her  a 
.ed.  The  little  angel  just  sat  in  it  and  quietly 
latched  us.  She  seemed  to  be  fascinated  by 
he  sight  of  Wally.  Gradually  Carol  Ann 
jegan  to  do  things  to  attract  his  attention, 
fhen  one  day  she  stuck  her  foot  out  and  tried 
)  trip  him.  Wally  turned  around  and  started 
b  chase  her.  From  that  day  on  they've  been 
•al  friends. 

With  the  passing  of  time,  Wally  and  Carol 
nn  have  become  inseparable.    They  go  every- 
•here  together,  and  he  even  likes  to  buy  her 
iothes.    Not  long  ago  she  outgrew  her  little 
aderthings,    Wally    took    her    shopping    in 
ollywood.     When  they  came  back,  I  found 
at  they  had  bought  some  of  those  unfinished 
.iby  things  that  have  to  be  sewn  together. 
Othing  daunted,  the  pair  of  them,  big  Wally 
id  that  little  baby,  sat  down  with  needles  and 
read  and  tried  to  sew  seams  in  a  pair  of  them. 
,vish  I  could  describe  the  picture  they  made. 
|In  raising  Carol  Ann,  I  want  to  instill  in  her 
f  principles  of  love,  sincerity  and  fair  play. 
'so  I  want  her  to  have  a  knowledge  of  God 
Id  a  definite  goal  in  life.    She  can  choose  any- 
ing  which  appeals  to  her— being  a  doctor, 
Iyer,  artist,  writer,  or  actress— whatever  in- 
vests her  most.    But  it  should  be  something. 
yill  never  stand  in  her  way  as  long  as  there  is 
irihing  actually  harmful  to  her.    That  is  why 
Be  no  objections  to  her  flying  with  Wally.    I 
*  nt  her  to  be  brave  and  unhampered  by  the 
'  aredy  cat"  influence  of  an  anxious  mother. 
t  have  always  felt  this  way  toward  Wally, 
tj.   To  me  he  is  the  rock  of  Gibraltar.    And  I 
r'lize  having  a  woman's  apron  strings  around 
|  neck  would  be  unbearable.    Therefore,  I've 
r  er  objected  to  his  flying,  or  anything  he 
h  wanted  to  do.    To  tell  the  truth,  I  enjoy 
H  ng  as  much  as  he  does.    I  went  with  him  on 
I  first  solo  flight.     After  taking  lessons  for 
i  rly  a  year,  Wally  came  home  one  day  and 


said,  "Rita,  I'm  taking  my  first  flight  alone 
today  and  I  want  you  to  be  my  passenger." 

We  went  to  Clover  Field  and  flew  for  quite  a 
while.     Wally  showed  me  how  to  do  a  dead 
stick  landing  at  5,000  feet  and  a  lot  of  tricks. 
My  greatest  thrill  was  crossing  the  Mojave 
Desert  with  Wally.     We  ran  into  a  terrific 
storm  which  swept  between  the  Sierras  and 
Death  Valley.    I  was  scared  to  death,  but  de- 
termined not  to  say  a  word.     Our  little  dog, 
Gypsy,  was  with  us  and  the  jolting  made  her 
awfully  sick.    When  I  saw  Wally  reach  out  and 
strap  on  his  safety  belt,  I  could  stand  it  no 
longer  and  suggested  we  land.    He  brought  the 
ship  down  by  a  farm  house  about  forty  miles 
from  Bishop,  Arizona.    Then  he  sent  word  to  a 
nearby  town  and  got  a  taxi  to  drive  me  to  a 
hotel  in  Bishop.    All  this  time  the  storm  was 
raging  worse  than  ever.    Wally  said  he  didn't 
want  to  leave  the  plane  alone  and  that  he'd 
wait  until  another  car  came,  and  then  he'd 
follow  me.    It  took  several  hours  for  me  to  get 
to  Bishop,  and  as  I  stepped  out  of  the  car  in 
front  of  the  hotel,  there  was  Wally  standing  on 
the  corner  with  a  sheepish  look  on  his  face. 
He  waited  until  my  car  got  out  of  sight,  climbed 
right  back  into  the  plane  and  flew  to  Bishop. 
That's  Wally  Beery. 

Since  Carol  Ann  has  come  into  our  family, 
Wally  and  I  have  found  complete  happiness.' 
She  has  supplied  a  missing  something  in 
our  lives  which  we  hardly  suspected  was 
there,  but  realized  the  moment  she  came  to  us. 
My  career  is  now  raising  her— making  her  and 
Wally  happy  is  the  only  glory  I  want.  With- 
out any  ego  on  my  part,  I  will  mention  that 
before  I  married  Wally  I  had  a  screen  career 
which  appeared  very  promising,  and  before 
giving  it  up  I  gave  the  matter  a  lot  of  thought. 
But  once  I  made  up  my  mind  I  have  never 
regretted  it— I  have  something  far  more 
precious — a  career  more  lasting. 

We  have  a  new  plane.  I  am  now  fully  recov- 
ering from  a  recent  illness,  and  when  Wally  has 
finished  "West  Point  of  the  Air"  and  several 
other  pictures  scheduled  for  him  at  Metro- 
Goldwyn-Mayer,  we  are  going  to  take  a  vaca- 
tion in  Europe.  We  plan  to  fly  over  all  the 
countries  we  missed  on  our  last  trip— Carol, 
Wally  and  me. 


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u6 


NATURAL  LIPS 

WIN     WITH 

Dick  Powell 

IN    LIPSTICK  TEST 


Photoplay  Magazine  for  February,  1935 

Addresses   of  the  Stars 


Hollywood,  Calif. 

Paramount  Studios 


Iris  Adrian 
Max  Baer 
George  Barbier 
Ben  Bernie 
Douglas  Blackley 
Mary  Boland 
Grace  Bradley 
Lorraine  Bridges 
Carl  Brisson 
Mary  Ellen  Brown 
Kathleen  Burke 
Burns  and  Allen 
Alan  Campbell 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Elisha  Cook,  Jr. 
Gary  Cooper 
Jack  Cox 

Larry  "  Buster"  Crabbe 
Eddie  Craven 
Bing  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Frances  Drake 
Mary  Ellis 
W.  C.  Fields 
William  Frawley 
Paul  Gerrits 
Cary  Grant 
David  Holt 
Dean  Jagger 
Roscoe  Karns 
Lois  Kent 
Elissa  Landi 
Charles  Laughton 
Billy  Lee 
Baby  LeRoy 

Fox  Studios,  1401  N.  Western  Ave 


•  Dick  Powell  actually  mak- 
ing the  lipstick  test  between 
scenes  of  "Flirtation  Walk", 
a  Warner  Brothers  picture. 


Popularyoung 
star  tells  why 
he  chose  the 
Tangee   Lips 

•  "I  like  a  fresh 
youthful  face," 
said  Dick  Powell. 
"And  painted  lips 
always  make  girls 
look  old  and  hard." 

They  do,  indeed,  as  millions  of  men  will 
testify.  But  Tangee  can't  make  you  look 
painted,  because  Tangee  isn't  paint.  Tangee  is 
the  one  and  only  lipstick  in  the  world  with  the 
magic  Tangee  color-change  principle  that  pre- 
vents that  painted  look. 

In  the  stick,  Tangee  is  orange.  But  on  your 
lips  it  changes  to  the  one  shade  of  blush  rose 
that  is  just  risht  for  your  type.  It  costs  just 
39  cents  and  $1.10,  but  if  you'd  like  to  try  it 
first,  send  10  cents  for  the  4-piece  Miracle 
Make-Up  Set  offered  with  the  coupon  below. 

T|     World's  Most  Famous  Lipstick 
EHDS    THAT   PAIHTED   LOOK 

i  contains  the  magic 
gee   cofor   principle 


•    4-PIECE  MIRACLE  MAKE-UP  SET 

THE  GEORGE  W.  LUFT  COMPANY       P25 
417  Fifth  Avenue,  New  York  City 
Rush  Miracle  Make-Up  Set  of  miniature  Tangee 
Lipstick,  Rouge  Compact,  Creme   Rouge,  Face 
Powder.  1  enclose  10V  (stamps  or  coin). 

Shade    □  Flesh    □  Rachel    □  Light  Rachel 


Name . 


Diana  Lewis 
Carole  Lombard 
Pauline  Lord 
Ida  Lupino 
Helen  Mack 
Fred  MacMurray 
Julian  Madison 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Lloyd  Nolan 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Joe  Penner 
George  Raft 
Lyda  Roberti 
Lanny  Ross 
Jean  Rouverol 
Charlie  Ruggles 
Randolph  Scott 
Ann  Sheridan 
Sylvia  Sidney 
Alison  Skipworth 
Queenie  Smith 
Sir  Guy  Standing 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Evelyn  Venable 
Mae  West 
Henry  Wilcoxon 
Virginia  Weidler 
Howard  Wilson 
Toby  Wing 


Frank  Albertson 
Astrid  Allwyn 
Rosemary  Ames 
Lew  Ayres 
Catalina  Barcena 
Mona  Barrie 
Warner  Baxter 
John  Boles 
John  Bradford 
Frances  Carlon 
Madeleine  Carroll 
Dave  Chasen 
Tito  Coral 
Jane  Darwell 
James  Dunn 
Jack  Durant 
Alice  Faye 
Peggy  Fears 
Stepin  Fetchit 
Nick  Foran 
Norman  Foster 
Ketti  Gallian 
Janet  Gaynor 
Harry  Green 
Rochelle  Hudson 
Roger  Imhof 
Walter  Johnson 


June  Lang 
Edmund  Lowe 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Conchita  Montenegro 
Rosita  Moreno 
Herbert  Mundin 
Warner  Oland 
Valentin  Parera 
Pat  Paterson 
Ruth  Peterson 
John  Qualen 
Will  Rogers 
Gilbert  Roland 
Raul  Roulien 
Siegfried  Rumann 
Albert  Shean 
Berta  Singerman 
Shirley  Temple 
Spencer  Tracy 
Claire  Trevor 
Helen  Twelvetrees 
Blanca  Vischer 
Henry  B.  Walthall 
Hugh  Williams 
Walter  Woolf 


RKO-Radio  Pictures,  780  Gower  St. 


Glenn  Anders 
Fred  Astaire 
John  Beal 
Willie  Best 
Eric  Blore 
Alice  Brady 
Helen  Broderick 
Bruce  Cabot 
Chic  Chandler 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Skeets  Gallagher 
Wynne  Gibson 
Alan  Hale 
Margaret  Hamilton 
Ann  Harding 


Katharine  Hepburn 
Pert  Kelton 
Francis  Lederer 
Gene  Lockhart 
Joel  McCrea 
Raymond  Middleton 
Polly  Moran 
June  Preston 
Gregory  Ratoff 
Virginia  Reid 
Erik  Rhodes 
Barbara  Robbins 
Ginger  Rogers 
Ann  Shirley 
Frank  Thomas, 
Thelma  Todd 
Bert  Wheeler 
Robert  Woolsey 


Jr. 


Address  - 
City 


.Stale. 


United  Artists  Studios,  1041  N.  Formosa 
Ave. 

Eddie  Cantor  Miriam  Hopkins 

Charles  Chaplin  Mary  Pickford 

Douglas  Fairbanks  Anna  Sten 

20th  Century  Studios,  1041  N.  Formosa 
Ave. 

George  Arliss  Frednc  March 

Constance  Bennett  Loretta  Young 

Ronald  Colman 

Columbia  Studios,  1438  Gower  St. 


Robert  Allen 
Jean  Arthur 
Lucille  Ball 
Tala  Birell 
James  Blakeley 
John  Mack  Brown 
Jack  Buckler 
Nancy  Carroll 
Walter  Connolly 
Donald  Cook 
Inez  Courtney 
Richard  Cromwell 
Allyn  Drake 
Douglas  Dumbrille 
John  Gilbert 
Arthur  Hohl 


Jack  Holt 
Victor  Jory 
Fred  Keating 
Peter  Lorre 
Marian  Marsh 
Tim  McCoy 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Gene  Raymond 
Florence  Rice 
Charles  Sabin 
Billie  Seward 
Ann  Sothern 
Raymond  Walburn 
Fay  Wray 


Culver  City,  Calif. 
Hal  Roach  Studios 


Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 


Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 


Metro-Goldwyn-Mayer  Studios 


Brian  Aherne 
Katharine  Alexander 
Elizabeth  Allan 
Lionel  Barrymore 
Wallace  Beery 
Virginia  Bruce 
Ralph  Bushman 
Charles  Butterworth 
Mary  Carlisle 
Leo  Carrillo 
Ruth  Channing 
Maurice  Chevalier 
Mady  Christians 
Jackie  Cooper 
Joan  Crawford 
Jimmy  Durante 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Muriel  Evans 
Louise  Fazenda 
Preston  Foster 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
C.  Henry  Gordon 
Ruth  Gordon 
Russell  Hardie 
Jean  Harlow 
Helen  Hayes 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 
Isabel  Jewell 


June  Knight 
Otto  Kruger 
Elsa  Lanchester 
Evelyn  Laye 
Myrna  Loy 
Jeanette  MacDonald 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Karen  Morley 
Ramon  Novarro 
Maureen  O'Sullivan 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
William  Powell 
May  Robson 
Shirley  Ross 
Rosilind  Russell 
Maurice  Schwartz 
Norma  Shearer 
Frank  Shields 
Sid  Silvers 
Martha  Sleeper 
Harvey  Stephens 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


Universal 

Universal  Studios 

Heather  Angel 
Henry  Armetta 
Nils  Asther 
Binnie  Barnes 
Noah  Beery,  Jr. 
Dean  Benton 
Mary  Brooks 
Willy  Castello 
June  Clayworth 
Carol  Coombe 
Philip  Dakin 
Ann  Darling 
Andy  Devine 
Sally  Eilers 
Valerie  Hobson 
Sterling  Holloway 
Henry  Hull 
G.  P.  Huntley,  Jr. 
Lois  January 
Buck  Jones 


City,  Calif. 


Boris  Karloff 
Frank  Lawton 
Bela  Lugosi 
Paul  Lukas 
Florine  McKinney 
Douglass  Montgomery 
Victor  Moore 
Chester  Morris 
Hugh  O'Connell 
Roger  Pryor 
Juanita  Quigley 
Claude  Rains 
Onslow  Stevens 
Gloria  Stuart 
Margaret  Sullavan 
Francis  L.  Sullivan 
Polly  Walters 
Alice  White 
Clark  Williams 
Jane  Wyatt 


Burba nk,  Calif. 

Warners-First  National  Studios 


Ross  Alexander 
Johnnie  Allen 
Mary  Astor 
Arthur  Aylesworth 
Robert  Barrat 
Joan  Blondell 
Glen  Boles 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Enrico  Caruso,  Jr. 
Hobart  Cavanaugh 
Joseph  Cawthorn 
Colin  Clive 
Ricardo  Cortez 
Dorothy  Dare 
Marion  Davies 
Bette  Davis 
Dolores  Del  Rio 
Claire  Dodd 
Ruth  Donnelly 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Patricia  Ellis 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Grace  Ford 
Kay  Francis 
William  Gargan 
Hugh  Herbert 
Russell  Hicks 
Leslie  Howard 

Ian  Hunter  

Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Call 
Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollyw 
Calif.  „       _        .I. 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly  «• 
Calif.  ,.  „  „„ 

Ned  Sparks,  1765  No.  Sycamore  Ave.,  Holly  «"' 
Calif.  T,  ,, 

Alan  Dinehart,  2528  Glendower  Ave.,  Hollyw  i 
Calif. 


Josephine  Hutchinson 

Allen  Jenkins 

Al  Jolson 

Olive  Jones 

Ruby  Keeler 

Guy  Kibbee 

Robert  Light 

Margaret  Lindsay 

Anita  Louise 

Helen  Lowell 

Aline  MacMahon 

Everett  Marshall 

Frank  McHugh 

James  Melton 

Jean  Muir 

Paul  Muni 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed   • 
Philip  Regan 
Edward  G.  Robinson 
Winifred  Shaw 
Barbara  Stanwyck 
Lyle  Talbot 
Verree  Teasdale 
Genevieve  Tobin 
Dorothy  Tree 
Marv  Treen 
Harry  Tyler 
Rudy  Vallee 
Gordon  Westcott 
Warren  William 
Donald  Woods 


Photoplay  Magazine  for  February,  1935 

Screen    Memories    From    Photoplay 

15  Years  Ago 


1 17 


EVIiR  since  there  have  been 
movies,  it  seems,  there  have 
been  girls  wanting  to  know  how 
to  become  screen  successes.  In 
||iis  issue,  Jesse  L.  Lasky,  the 
producer,  told  them  the  secret 
«;h  hard  work,  lots  of  it,  then 
more  hard  work.  In  the  same 
issue  a  number  of  stars  told  what 
lines  of  work  they  would  have 
chosen  if  Fate  hadn't  landed 
them  a  screen  test.  Marjorie 
Rambeau  said  if  she  had  to  leave  the  screen  she 
would  choose  to  become  a  physician.  Billie 
Burke  thought  she  might  have  been  a  success- 
ful painter.  (Both  are  still  in  the  movies,  how- 
ever.) Little  Marguerite  Clark  said  when  her 
movie  career  ended  she  would  keep  the  wolf 
from  the  door  designing  dolls.  Marguerite, 
however,  happily  married  to  a  gentleman 
with  a  substantial  income,  is  quite  content  to- 


Olive  Thomas 


day  with  a  house  to  manage. 
Salaries  of  the  stars  were  just  be- 
ginning to  become  a  topic  of  con- 
versation. When  Photoplay  di- 
vulged the  secret  that  Nazimova 
was  earning  thirteen  thousand 
dollars  a  week,  lots  of  tongues 
wagged.  .Mary  Pickford  was 
making  close  to  half  a  million  a 
year.  Just  a  few  pages  farther  on 
was  an  article  entitled,  "The 
Gentle  Grafters,"  telling  how 
many  of  the  stars  used  their  glory  as  a  basis 
for  petty  grafting — demanding  the  studios 
to  give  them  the  gowns  they  wore  in  pictures, 
exacting  large  rake-offs  from  the  shops  for 
their  patronage,  etc.  Among  the  best  pictures 
were  "Anne  of  Green  Gables,"  with  Mary 
Miles  Minter  and  D.  W.  Griffith's  "Scarlet 
Days"  with  Richard  Barthelmess  and  Carol 
Dempster.     On  the  cover  Olive  Thomas. 


10  Years  Ago 


npillS  was  an  issue  for  the  men! 
■*■  Started  out  by  asking  twelve 
famous  actors  the  question, 
"What  is  Love?"  Doug  Fair- 
banks answered,  "  I've  been  try- 
ing to  find  out  for  years!  What- 
ever it  is.  it's  wonderful!"  A 
little  more  explicit  was  Douglas 
MacLean,  "Love  is  the  chem- 
istry of  the  soul."  John  Gilbert's 
definition  was  "Love  is  sharing." 
Ben  Lyon,  screendom's  newest 
hero,  gave  his  impression  of  the  three  leading 
vamps  of  the  day.  Briefly,  his  descriptions 
were:  Gloria  Swanson,  a  polished  jewel.  Pola 
Negri,  a  gorgeous  and  honest  pagan.  Barbara 
LaMarr,  a  Lorelei  and  a  Circe.  In  this  issue 
Constance  Talmadge  told  "Why  Men  Fall  in 
Love  with  Actresses."  According  to  Connie, 
there  were  two  reasons:  Because  an  actress  is, 
and  must  be,  heartless;  and  because  men  think 


Monte  Blue 


actresses  are  naughty.  Mary 
Pickford  wrote  an  article  en- 
titled "When  I  Am  Old" — in 
which  she  said  she  wanted  chil- 
dren, and  expected  to  leave  the 
screen  in  three  or  four  years  to 
lead  a  domestic,  normal  life. 
"The  Man  Who  Found  Him- 
Jk  self,"  was  Monte  Blue.    And  he 

did  it  by  marrying  Tova  Jansen. 
Tova  and  Monte  have  two  chil- 
dren now;  Barbara  Ann,  now 
eight  years  old  and  Richard,  who  is  five.  In 
its  Shadow-stage  Department  this  month, 
Photoplay  commented  unfavorably  on  the 
two  most  important  pictures  of  the  day.  Von 
Stroheim's  "Greed,"  and  Von  Sternberg's 
"The  Salvation  Hunters."  Good  films  in- 
cluded Gloria  Swanson  in  "The  Wages  of 
Virtue,"  "A  Sainted  Devil,"  with  Rudolph 
Valentino.      Cover,  Florence  Vidor. 


5  Years  Ago 


•"THE   big  controversy   of    the 

day  was  the  length  of  ladies' 
skirts.  They  had  been  short  and 
now  Paris  threatened  to  make 
them  long.  Thirty  stars  were 
asked  what  they  thought  of  long 
skirts  and  all  were  in  favor  ex- 
cept Nancy  Carroll  who  said  she 
wouldn't  wear  long  skirts — ■ 
thought  they  were  uncomfort- 
able. (However,  the  last  time  we 
saw  Nancy,  her  skirts  were  regu- 
lation length.)  Clara  Bow  was  just  beginning 
to  wage  her  long  campaign  to  stay  thin.  Many 
critics  were  saying  that  little  Jean  Arthur 
in  "The  Saturday  Night  Kid"  had  stolen  the 
picture   from    Clara. 

Another  important  question  of  the  day  was 
whether  or  not  sound  was  ending  the  screen 
career  of  Jack  Gilbert.  (It  did  for  a  while. 
liut  Jack  recently  came  back  with  a  bang  in 


Bessie  Love 


"The  Captain  Hates  the  Sea.") 
Jack's  and  Ina  Claire's  marriage 
was  just  steering  into  troubled 
waters.  Bessie  Love  and  William 
Hawks  were  married  (and  still 
are).  This  issue  carried  a  grand 
description  of  the  tortures  suf- 
fered by  those  who  went  to  Africa 
to  make  "Trader  Horn."  It  is 
reported  that  Edwina  Booth,  the 
film's  blonde  heroine,  had  suf- 
fered a  "touch  of  fever."  Edwina 
is  today  an  invalid  because  of  the  effects  of 
that  trip  and  the  fever.  Warner  Baxter  was 
marked  for  stardom  because  his  voice  recorded 
well.  Sound  was  still  so  young  they  called 
the  town  Howlywood!  Best  pictures  included 
"Devil  May  Care"  with  Ramon  Novarro  and 
Dorothy  Jordan,  "Hit  the  Deck,"  "Seven 
Days'  Leave"  with  Gary  Cooper  and  Beryl 
Mercer.     Ruth  Chatterton  was  on  the  cover. 


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MY  HIPS 
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